he  <•>    <*>    -* 
Blue  Bird 

Maurice  Maeterlinck  m 


EDUCAlTIOfl  LIHHJ 


THE  BLUE  BIRD 


THE    BLUE    BIRD 

A  Fairy  Play  in  Six  Acts 

BY 
MAURICE    MAETERLINCK 

Translated  by 
Alexander  Teixeira  de  Mattos 


€ 


NEW  YORK 
DODD,  MEAD   AND   COMPANY 

1949 


PSfCH. 

LIBl 


EDUCATION  LIBB." 

Copyright,  1907,  1909,  1912 
By  Dodd,  Mead  &  Companv 


Printed  iv    U.   S.  A. 


1 '-/ 1 1 

CHARACTERS             library 

Tyltyl 

The  Wolf 

Mytyl 

The  Pig 

Light 

The  Ox 

The  Fairy  Berylune   The  Cow 

Neighbour  Berlingot  The  Bull 

Daddy  Tyl 

The  Sheep 

Mummy  Tyl 

The  Cock 

Gaffer  Tyl 

The  Rabbit 

Granny  Tyl 

g  The  Horse 

Tyltyl's  Brothers 

Q  The  Ass 

and  Sisters             j 

The  Oak 

Time 

The  Elm 

Night 

The  Beech 

Neighbour  Berlin- 

) 

got's  Little 

[The  Lime-tree 

Daughter 

j 

Tylo,  the  Dog 

The  Fir-tree 

Tylette,  the  Cat 

The  Cypress 

Bread 

The  Birch 

Sugar 

(  The 

(  Chestnut-tree 

Fire 

The  Ivy 

Water 

The  Poplar 

Milk 

The  Willow 

Stars,  Sicknesses,  Shades,  Luxuries, 
Happinesses,  Joys,  etc. 


M'7416? 


'/■wws* 


TRANSLATOR'S  NOTE 

A  new  act  appears  for  the  first  time  in  this  edi- 
tion and  is  inserted  as  Act  IV — The  Palace  of 
Happiness,  It  has  been  specially  written  for  the 
Christmas  revival  of  The  Blue  Bird  at  the  Hay- 
market  Theatre,  where  it  will  take  the  place  of 
the  Forest  Scene  (Act  III.,  Scene  2).  In  the 
printed  version,  however,  the  Forest  Scene  is  re- 
tained ;  and  in  this  and  all  later  editions  the  play 
will  consist  of  six  acts  instead  of  five. 

Alexander  Teixeira  de  Mattcs. 

Chelsea,  14  November,  1910. 


COSTUMES 

Tyltyl  wears  the  dress  of  Hop  oy  my 
Thumb  in  Perrault's  Tales.  Scarlet 
knickerbockers,  pale-blue  jacket,  white 
stockings,  tan  shoes. 

Mytyl  is  dressed  like  Gretel  or  Little  Red 
Riding-hood. 

Light. — The  "moon-coloured"  dress  in 
Perrault's  Peau  d'dne;  that  is  to  say, 
pale  gold  shot  with  silver,  shimmering 
gauzes,  forming  a  sort  of  rays,  etc. 
Neo-Grecian  or  Anglo-Grecian  (a  la 
Walter  Crane)  or  even  more  or  less 
Empire  style :  a  high  waist,  bare  arms, 
etc.  Head-dress:  a  sort  of  diadem  or 
even  a  light  crown. 

The  Fairy  B£rylune  and  Neighbour 
Berlingot. — The  traditional  dress 
of  the  poor  women  in  fairy-tales.  If 
desired,  the  transformation  of  the 
Fairy  into  a  princess  in  Act  I  may  be 
omitted. 

7 


The  Blue  Bird 

Daddy  Tyl,  Mummy  Tyl,  Gaffer  Tyl 
and  Granny  Tyl. — The  traditional 
costume  of  the  German  wood-cutters 
and  peasants  in  Grimm's  Tales. 

Tyltyl's  Brothers  and  Sisters. — Dif- 
ferent forms  of  the  Hop-o'-my-Thumb 
costume. 

Time. — Traditional  dress  of  Time :  a  wide 
black  or  dark-blue  cloak,  a  streaming 
white  beard,  scythe  and  hour-glass. 

Night. — Ample  black  garments,  covered 
with  mysterious  stars  and  "shot"  with 
reddish-brown  reflections.  Veils,  dark 
poppies,  etc. 

The  Neighbour's  Little  Girl. — Bright 
fair  hair;  a  long  white  frock. 

The  Dog. — Red  dress-coat,  white  breeches, 
top-boots,  a  shiny  hat.  The  costume 
suggests  that  of  John  Bull. 

The  Cat. — The  costume  of  Puss  in  Boots : 

powdered    wig,    three-cornered    hat, 

violet  or  sky-blue  coat,   dress-sword, 

etc. 

N.B. — The  heads  of  the  Dog  and  the 

Cat  should  be  only  discreetly  animalised. 

8 


The  Blue  Bird 

The  Luxuries. — Before  the  transfor- 
mation: wide,  heavy  mantles  in  red 
and  yellow  brocade;  enormous  fat 
jewels,  etc.  After  the  transfor- 
mation: chocolate  or  coffee-coloured 
tights,  giving  the  impression  of  un- 
adorned dancing-jacks. 

The  Happinesses  of  the  Home. — 
Dresses  of  various  colours,  or,  if 
preferred,  costumes  of  peasants, 
shepherds,  wood-cutters  and  so  on, 
but  idealised  and  interpreted  fairy- 
fashion. 

The  Great  Joys. — As  stated  in  the  text, 
shimmering  dresses  in  soft  and  subtle 
shades :  rose-awakening,  water's-smile, 
amber-dew,  blue-of-dawn,  etc. 

Maternal  Love. — Dress  very  similar  to 
the  dress  worn  by  Light,  that  is  to 
say,  supple  and  almost  transparent 
veils,  as  of  a  Greek  statue,  and,  in  so 
far  as  possible,  white.  Pearls  and 
other  stones  as  rich  and  numerous  as 
may  be  desired,  provided  that  they 
do  not  break  the  pure  and  candid 
harmony  of  the  whole. 

9 


The  Blue  Bird 

Bread. — A  rich  pasha's  dress.  An  ample 
crimson  silk  or  velvet  gown.  A  huge 
turban.  A  scimitar.  An  enormous 
stomach,  red  and  puffed-out  cheeks. 

Sugar. — A  silk  gown,  cut  like  that  of  a 
eunuch  in  a  seraglio,  half  blue  and 
half  white,  to  suggest  the  paper  wrap- 
per o£  a  sugar-loaf.  Eunuch's  head- 
dress. 

Fire. — Red  tights,  a  vermilion  cloak  with 
changing  reflections,  lined  with  gold. 
An  aigrette  of  iridescent  flames. 

Water. — A  pale-blue  or  bluish-green 
dress,  with  transparent  reflections  and 
effects  of  rippling  or  trickling  gauze. 
Neo-Grecian  or  Anglo-Grecian  style, 
but  fuller  and  more  voluminous  than 
that  of  Light.  Head-dress  of 
aquatic  flowers  and  seaweed. 

The  Animals. — Popular  or  peasant  cos- 
tumes. 

The  Trees. — Dresses  of  different  shades 
of  green  or  the  colour  of  the  trunks  of 
trees.  Distinctive  attributes  in  the 
shape  of  leaves  or  branches  by  which 
they  can  be  recognised. 
10 


SCENES      . 

Act  I. — The  Wood-cutter's  Cottage. 

Act  II.,    Scene  i — At  the  Fairy's. 

Scene  2 — The  Land  of  Memory, 

Act  III.,  Scene  1 — The  Palace  of  Night. 
Scene  2 — The  Forest. 

Act  IV.,  Scene  1 — Before  the  Curtain. 

Scene  2 — The  Palace  of  Happi- 
ness. 

Act  V.,    Scene  1 — Before  the  Curtain. 
Scene  2 — The  Graveyard. 
Scene  3 — The   Kingdom  of  the 
Future. 

Act  VI.,  Scene  1 — The  Leave-taking. 
Scene  2 — The  Awakening. 


11 


The  Blue  Bird 
ACT  I 

The  Wood-cutter's  Cottage 

The  itage  represents  the  interior  of  a  wood- 
cutter's cottage y  simple  and  rustic  in 
appearance,  but  in  no  way  poverty- 
stricken.  A  recessed  fireplace  contain- 
ing  the  dying  embers  of  a  wood-fire. 
Kitchen  utensils,  a  cupboard,  a  bread- 
pan,  a  grandfather 's  clock,  a  spinning- 
wheel,  a  water-tap,  etc.  On  a  table,  a 
lighted  lamp.  At  the  foot  of  the  cup- 
board, on  either  side,  a  Dog  and  a  Cat 
lie  sleeping,  rolled  up,  each  with  his 
nose  in  his  tail.  Between  them  stands 
a  large  blue-and-white  sugar-loaf.  On 
the  wall  hangs  a  round  cage  contain- 
ing a  turtle-dove.  At  the  back,  two 
windows,  with  closed  inside  shutters. 
Under  one  of  the  windows,  a  stool. 
On  the  left  is  the  front  door,  with  a 
13 


The  Blue  Bird 

big  latch  to  it.  On  the  right,  another 
door.  A  ladder  leads  up  to  a  loft. 
On  the  right  also  are  two  little  chiU 
dren's  cots,  at  the  head  of  which  are 
two  chairs,  with  clothes  carefully 
folded  on  them.  When  the  curtain 
rises,  Tyltyl  and  Mytyl  are  sound 
asleep  in  their  cots.  Mummy  Tyl 
tucks  them  in,  leans  over  them, 
watches  them  for  a  moment  as  they 
sleep  and  beckons  to  Daddy  Tyl,  who 
thrusts  his  head  through  the  half-open 
door.  Mummy  Tyl  lays  a  finger  on 
her  lips,  to  impose  silence  upon  him, 
and  then  goes  out  to  the  right,  on  tip* 
toe,  after  first  putting  out  the  lamp. 
The  scene  remains  in  darkness  for  a 
moment.  Then  a  light,  gradually  in> 
creasing  in  intensity,  filters  in  through 
the  shutters.  The  lamp  on  the  tablt 
lights  again  of  itself,  but  its  light  is  of 
a  different  colour  than  when  Mummy 
Tyl  extinguished  it.  The  two  Chil- 
dren appear  to  wake  and  sit  up 
in  bed. 

14 


Th( 

>  Blue  Bird 
Tyltyl 

Mytyl? 

Mytyl 

Tyltyl? 

Tyltyl 

Are  you 

asleep? 

Mytyl 

Are  you' 

?  .  .  . 

Tyltyl 

No ;  how  can  I  be  asleep  when  I'm  talking 
to  you? 

Mytyl 
Say,  is  this  Christmas  Day?  .  .  . 

Tyltyl 
Not  yet;  not  till  to-morrow.     But  Father 
Christmas   won't   bring   us    anything 

this  year.   .  .  . 

Mytyl 
Why  not? 

Tyltyl 
I  heard  mummy  say  that  she  couldn't  go 
to  town  to  tell  him.  .  .  .  But  he  will 
come  next  year.  .  .  . 
Mytyl 
Is  next  year  far  off  ?  .  .  . 

IS 


The  Blue  Bird 

Tyltyl 
A  good  long  while.  .  .  .  But  he  will  come 
to  the   rich   children  to-night.  .  .  . 

Mytyl 

Really?  .  .  . 

Tyltyl 
Hullo !    .     .     .    Mummy's      forgotten     to 

put     out    the     lamp!  .  .  .  I've     an 
idea !  .  .  . 

Mytyl 
What?  .  .  . 

Tyltyl 
Let's  get  up.  .  .  . 

Mytyl 
But  we  mustn't.  .  .  . 

Tyltyl 
Why,  there's  no  one  about.  .  .  .  Do  vou 
see  the  shutters?    .    .    . 

Mytyl 
Oh,  how  bright  they  are !  .  .  . 

Tyltyl 
It's  the  lights  of  the  party. 

Mytyl 
What  party  ?  .  .  . 

16 


The  Blue  Bird 

Tyltyl 

The  rich  children  opposite.  It's  the  Christ- 
mas-tree. Let's  open  the  shut- 
ters. .    .   . 

Mytyl 

Can  we  ?  .   .   . 

Tyltyl 

Of  course;  there's  no  one  to  stop  us.  .    .    . 

Do  you  hear  the  music?  .    .    .  Let  us 

get  up.  .   .   . 

( The  two  Children  get  up,  run 
to  one  of  the  windows, 
climb  on  to  the  stool  and 
throw  hack  the  shutters.  A 
bright  light  fills  the  room. 
The  Children  look  out 
greedily.) 

Tyltyl 
We  can  see  everything !  .   .   . 

Mytyl  {who  can  hardly  find  room  on  the 

stool) 
I  can't.  .   .   . 

17 


The  Blue  Bird 

Tyltyl 

It's  snowing !  .   .   .  There's  two  carriages, 

with  six  horses  each !  .   .  „ 

Mytyl 

There     are     twelve     little     boys     getting 

out!  .  .  . 

Tyltyl 
How  silly  you  are!    .    .    .  They're  little 
girls.  .   .   . 

Mytyl 
They've  got  knickerbockers.  .  .  . 

Tyltyl 

What  do  you  know?   .    .    .    Don't  push 
so!  .   .   . 

Mytyl 
I  never  touched  you. 

Tyltyl  {who  is  taking  up  the  whole  stool) 
You're  taking  up  all  the  room.  .    .   . 

Mytyl 
Why,  I  have  no  room  at  all !  .  .  . 

Tyltyl 
Do  be  quiet!    I  see  the  treel  •  m  n 

Mytyl 
What  tree?  .  .  . 

18 


The  Blue  Bird 

Tyltyl 
Why,  the   Christmas-tree!    .    .    .    You're 
looking  at  the  wall !  .    .    . 

Mytyl 
I'm  looking  at  the  wall  because  I've  got  no 

room.   .    .    . 
Tyltyl  (giving  her  a  miserly  little  place 

on  the  stool) 
There!    .    .    .    Will  that  do?    .    .    .    Now 
you're  better  off  than  I !    .    .    .1  say, 
what  lots  and  lots  of  lights !    .    .    . 

Mytyl 
What  are  those  people  doing  who  are  mak- 
such  a  noise  ?  .   .   . 

Tyltyl 
They're  the  musicians. 

Mytyl 
Are  they  angry?  .    .    . 

Tyltyl 
No;  but  it's  hard  work. 

Mytyl 
Another  carriage  with  white  horses!  ...  M  m 

Tyltyl 
Be  quiet!  .  .   .  And  look!  .  .  ., 

19 


The  Blue  Bird 

Mytyl 
What  are  those  gold  things  there,  hanging 
from  the  branches? 

Tyltyl 
Why,  toys,  to  be  sure !  .   .   .  Swords,  guns, 
soldiers,  cannons.  .    .    . 

Mytyl 

And  dolls ;  say,  are  there  any  dolls  ?  .   .   . 

Tyltyl 
Dolls?  .  .  .  That's  too  silly;  there's  no  tun 
in  dolls.  .   .   . 

Mytyl 

And  what's  that  all  round  the  table?  .  .  . 

Tyltyl 
Cakes  and  fruit  and  tarts.  .   .   . 

Mytyl 
I  had  some  once  when  I  was  little.   .    .    . 

Tyltyl 
So  did  I;  it's  nicer  than  bread,  but  they 
don't  give  you  enough.  .   .   . 
Mytyl 
They've  got  plenty  over  there.   .    .    .  The 
whole  table's  full.  .   .   .  Are  they  go- 
ing to  eat  them  ?  .  .  . 
20 


The  Blue  Bird 

Tyltyl 
Of  course;  what  else  would  they  do  with 
them?  .   .   . 

Mytyl 
Why  don't  they  eat  them  at  once?  .   .   . 

Tyltyl 
Because  they're  not  hungry.  .   .   . 

Mytyl  {stupefied  with  astonishment) 
Not  hungry  ?  .    .    .  Why  not  ?  .   .    . 

Tyltyl 
Well,     they     eat     whenever     they     want 
to.  .   .  . 

Mytyl  {incredulously) 
Every  day?  .   .    . 

Tyltyl 
They  say  so.  .   .    . 

Mytyl 
Will  they  eat  them  all  ?  .  .  .  Will  they  give 
any  away?  .    .    . 

Tyltyl 
To  whom  ?  .  .  . 

Mytyl 
To  us.  .  .  . 

Tyltyl 
They  don't  know  us.  .  .   . 

21 


The  Blue  Bird 

Mytyl 

Suppose  we  asked  them.  .  •  , 

Tyltyl 

We  mustn't. 

Mytyl 
Why  not  ?  .   .   . 

Tyltyl 
Because  it's  not  right. 

Mytyl  {clapping  her  hands) 
Oh,  how  pretty  they  are !  .   .   . 

Tyltyl  {rapturously) 
And    how    they're    laughing    and    laugh- 
ing! .    .    . 

Mytyl 
And  the  little  ones  dancing !  .   .   . 

Tyltyl 
Yes,  yes;  let's  dance  too!    .     .    .    {They 
stamp  their  feet  for  joy  on  the  stool.) 

Mytyl 
Oh,  what  fun!  .   .   . 

Tyltyl 
They're  getting  the  cakes!  .   .    .  They  can 
touch  them!    .    .    .    They're   eating, 
they're  eating,  they're  eating!  .   .   . 
22 


The  Blue  Bird 

Mytyl 
The  tiny  ones,  too !  .   .   .  They Ve  got  two, 
three,  four  apiece !  .   .   . 
Tyltyl  {drunk  with  delight) 
Oh,  how  lovely !  .   .  .  Oh,  how  lovely,  how 
lovely!  .   .   . 
Mytyl    {counting  imaginary  cakes) 
I've  got  twelve !  .    .   . 

Tyltyl 
And  I  four  times  twelve !  .  .  .  But  I'll  give 
you  some.  .   .   . 

{A  knock  at  the  door  of  the  coU 
tage). 
Tyltyl     {suddenly    quieted    and    fright- 
ened) 
What's  that?  .  .  . 

Mytyl  {scared) 
It's  Daddy!  .    .    . 

{As  they  hesitate  before  opening 
the  door,  the  big  latch  is 
seen  to  rise  of  itself,  with  a 
grating  noise;  the  door  half 
opens  to  admit  a  little  old 
woman  dressed  in  green 
with  a  red  hood  on  her 
23 


The  Blue  Bird 

head.     She  is  humpbacked 
and  lame  and  near-sighted; 
her  nose  and  chin  meet;  and 
she  walks  bent  on  a  stick. 
She  is  obviously  a  fairy.) 
The  Fairy^ 
Have  you  the  grass  here  that  sings  or  the 
bird  that  is  blue?    .    .    . 
Tyltyl 
We  have  some  grass,  but  it  can't  sing.  .  .  . 

Mytyl 
Tyltyl  has  a  bird. 

Tyltyl 
But  I  can't  give  it  away.  .   .   . 

The  Fairy 
Why  not?  .   .   . 

Tyltyl 
Because  it's  mine. 

The  Fairy 
That's  a  reason,  no  doubt.     Where  is  the 
bird?  .   .   . 

Tyltyl  (pointing  to  the  cage) 
In  the  cage.  .   .    . 

The  Fairy  (putting  on  her  glasses  to  ex- 
amine the  bird) 
24 


The  Blue  Bird 

I  don't  want  it;  it's  not  blue  enough.  You 
will  have  to  go  and  find  me  the  one  I 
want. 

Tyltyl 
But  I  don't  know  where  it  is.  .    .    . 

The  Fairy 
No  more  do  I.    That's  why  you  must  look 
for  it.    I  can  do  without  the  grass  that 
sings,  at  a  pinch;  but  I  must  absolutely 
have  the  blue  bird.     It's  for  my  little 
girl,  who  is  very  ill. 
Tyltyl 
What's  the  matter  with  her?  .   .  . 

The  Fairy 
We   don't  quite  know;   she   wants  to  be 
happy.  .   .  . 

Tyltyl 
Really?  .   .   . 

The  Fairy 
Do  you  know  who  I  am  ?  .  .  . 

Tyltyl 

You're  rather  like  our  neighbour,  Madame 

Berlingot.  .    .    . 

The  Fairy  (growing  suddenly  angry) 

Not  a  bit !  s   .   .  There's  not  the  least  like- 

25 


The  Blue  Bird 

ness !  .    .   .  This  is  intolerable !  .   .   . 
I  am  the  Fairy  Berylune.  .   .  . 
Tyltyl 
Oh !     Very  well.  .   .   . 

The  Fairy 
You  will  have  to  start  at  once. 

Tyltyl 
Are  you  coming  with  us  ? 

The  Fairy 
I  can't,  because  I  put  on  the  soup  this  morn- 
ing and  it  always  boils  over  if  I  leave 
it  for  more  than  hour.    .    .    .    (Point- 
ing  successively    to    the    ceiling,    the 
chimney  and  the  window)   Will  you 
go  out  this  way,  or  that  way,  or  that 
way?    .    .    . 
Tyltyl  (pointing  timidly  to  the  door) 
I  would  rather  go  out  that  way.  .    .    . 
The    Fairy     (growing    suddenly    angry 

again ) 
That's  quite  impossible ;  and  it's  a  shocking 
habit!  .  .  .  (Pointing  to  the  window) 
We'll  go  out  this  way.  .  .  .  Well? 
.  .  .  What  are  you  waiting  for?  .  .  . 
Get  dressed  at  once.  .  .  .  (  The  Chil- 
26 


The  Blue  Bird 

DREN  do  as  they  are  told  and  dress 
quickly.)     I'll  help  Mytyl.  .   .   . 
Tyltyl 
We  have  no  shoes.  .   .   . 

The  Fairy 
That  doesn't  matter.   I  will  give  you  a  little 
magic  hat.     Where  are  your   father 
and  mother?  .    .    . 
Tyltyl    (pointing   to    the   door   on     the 

right) 
They're  asleep  in  there.  .    .    . 

The  Fairy 
And      your      grandpapa       and      grand- 
mamma? .  .  . 

Tyltyl 
They're  dead.  .   .   . 

The  Fairy 
And  your  little  brothers  and  sisters.  .    .    . 
Have  you  any?  .    .    . 
Tyltyl 
Oh,  yes;  three  little  brothers.  .  .  . 

Mytyl 
And  four  little  sisters.  .   .  . 
The  Fairy 
Where  are  they?  .   .   . 

27 


The  Blue  Bird 

Tyltyl 
They  are  dead,  too.  .   .   . 

The  Fairy 
Would  you  like  to  see  them  again?  .   .   . 

Tyltyl 
Oh,  yes !  ...  At  once !  .  .  .  Show  them  to 
us!  .   .   . 

The  Fairy 
I  haven't  got  them  in  my  pocket.  .   .   .  But 
this  is  very  lucky;  you  will  see  them 
when  you  go  through  the  Land  of 
Memory.  .   .   .  It's  on  the  way  to  the 
Blue  Bird,  just  on  the  left,  past  the 
third  turning.   .    .    .  What  were  you 
doing  when  I  knocked?  .    .   . 
Tyltyl 
We  were  playing  at  eating  cakes?   .    .    . 

The  Fairy 
Have  you  any  cakes?    .    .    .   Where  are 
they?  .   .   . 

Tyltyl 

In  the  house  of  the  rich  children.    .    .    . 

Come  and  look,  it's  so  lovely.     {He 

drags  the  Fairy  to  the  window.) 

The  Fairy  {at  the  window) 

28 


The  Blue  Bird 

But  it's  the  others  who  are  eating  them  I  . . . 

Tyltyl 
Yes ;  but  we  can  see  them  eat.  .   .  . 

The  Fairy 
Aren't  you  cross  with  them?  .  .  . 

Tyltyl 
What  for?  .    .   . 

The  Fairy 
For  eating  all  the  cakes.  ...  I  think  it's 
very  wrong  of  them  not  to  give  you 
some.  .   .   . 

Tyltyl 
Not  at  all;  they're  rich.  ...  I  say,  isn't  it 
beautiful  over  there?  .    .    . 
The  Fairy 
It's  no  more  beautiful  there  than  here. 

Tyltyl 

Ugh !  .  .  .  It's  darker  here  and  smaller  and 

there  are  no  cakes.  .    .    . 

The  Fairy 

It's  exactly  the  same,  only  you  can't  see.  . . . 

Tyltyl 
Yes,  I  can;  and  I  have  very  good  eyes.     I 
can  see  the  time  on  the  church  clock 
and  daddy  can't   .    .    . 
29 


The  Blue  Bird 

The  Fairy  {suddenly  angry) 

I  tell  you  that  you  can't  see !  .  .  .  How  do 
you  see  me?  .  .  .  What  do  I  look 
like?.  .  .  {An  awkward  silence  from 
Tyltyl.)  Well,  answer  me,  will 
you?  I  want  to  know  if  you  can  see! 
.  .  .  Am  I  pretty  or  ugly?  .  .  . 
( The  silence  grows  more  and  more 
uncomfortable.)  Won't  you  answer? 
.  .  .  Am  I  young  or  old?  .  .  .  Are 
my  cheeks  pink  or  yellow?  .  .  . 
Perhaps  you'll  say  I  have  a  hump  ?  .  . . 
Tyltyl  {in  a  conciliatory  tone) 

No,  no;  it's  not  a  big  one.  .   .   . 
The  Fairy 

Oh,  yes,  to  look  at  you,  any  one  would  think 
it  enormous.  .  .  .  Have  I  a  hook  nose 
and  have  I  lost  one  of  my  eyes  ?  .   .   . 
Tyltyl 

Oh,  no,  I  don't  say  that.  .   .   .  Who  put  it 
out?  .   .   . 
The  Fairy  {growing  more  and  more 
irritated) . 

But  it's  not  out !  .  .  .  You  wretched,  impu- 
dent boy!  .    .    .  It's  much  finer  than 
30 


The  Blue  Bird 

the  other;  it's  bigger  and  brighter  and 
blue  as  the  sky.  .  .  .  And  my  hair,  do 
you  see  that?  .  .  .  It's  fair  as  the  corn 
in  the  fields,  it's  like  virgin  gold !  .  .  . 
And  I've  such  heaps  and  heaps  of  it 
that  it  weighs  my  head  down.  .  .  . 
It  escapes  on  every  side.  .  .  .  Do  you 
see  it  on  my  hands?  (She  holds  out  two 
lean  wisps  of  grey  hair.) 
Tyltyl 

Yes,  I  see  a  little.  .    .    . 

The  Fairy  (indignantly) 

A  little !  .  .  .  Sheaves !  Armfuls  1  Clus- 
ters! Waves  of  gold!  ...  I  know 
there  are  people  who  say  that  they 
don't  see  any;  but  you're  not  one  of 
those  wicked,  blind  people,  I  should 
hope?   .    .    . 

Tyltyl 

Oh,  no;  I  can  see  all  that  isn't  hidden.  .   .  . 
The  Fairy 

But  you  ought  to  see  the  rest  with  as  little 
doubt!  .  .  .  Human  beings  are  very 
odd!  .  .  .  Since  the  death  of  the 
fairies,  they  see  nothing  at  all  and  they 

31 


The  Blue  Bird 

never  suspect  it.  .  .  .  Luckily,  I  al- 
ways carry  with  me  all  that  is  wanted 
to  give  new  light  to  dimmed  eyes. 
.  .  .  What  am  I  taking  out  of  my 
bag?  .    .   . 

Tyltyl 
Oh,  what  a  dear  little  green  hat!    .    .    . 
What's    that    shining    in    the    cock- 
ade? .   .   . 

The  Fairy 
That's  the  big  diamond  that  makes  people 
see.  .   .  . 

Tyltyl 
Really?  .  .   . 

The  Fairy 
Yes ;  when  you've  got  the  hat  on  your  head, 
you  turn  the  diamond  a  little;  from 
right  to  left,  for  instance,  like  this;  do 
you  see?  .   .   .  Then  it  presses  a  bump 
which  nobody  knows   of   and  which 
opens  your  eyes.   .    .    . 
Tyltyl 
Doesn't  it  hurt?  .   .    . 

The  Fairy 
On  the  contrary,  it's  enchanted.  .    .   .  You 

32 


The  Blue  Bird 

at  once  see  even  the  inside  of  things: 
the  soul  of  bread,  of  wine,  of  pepper, 
for  instance.  .   .  . 

Mytyl 

Can  you  see  the  soul  of  sugar,  too?  .  .   . 
The  Fairy  {suddenly  cross) 

Of  course  you  can  !  .  .  .  I  hate  unnecessary 
questions.  .  .  .  The  soul  of  sugar  is 
no  more  interesting  than  the  soul  of 
pepper.  .  .  .  There,  I  give  you  all  I 
have  to  help  you  in  your  search  for 
the  Blue  Bird.  I  know  that  the  flying 
carpet  or  the  ring  which  makes  its 
wearer  invisible  would  be  more  use- 
ful to  you.  .  .  .  But  I  have  lost  the 
key  of  the  cupboard  in  which  I  locked 
them.  .  .  .  Oh,  I  was  almost  forget- 
ting! .  .  .  {Pointing  to  the  diamond) 
When  you  hold  it  like  this,  do  you  see  ? 
.  .  .  One  little  turn  more  and  you 
behold  the  past.  .  .  .  Another  little 
turn  and  you  behold  the  future.  .  .  . 
It's  curious  and  practical  and  it's  quite 
noiseless.   .    .    . 


The  Blue  Bird 

Tyltyl 

Daddy  will  take  it  from  me.  .   .   . 

The  Fairy 
He  won't  see  it;  no  one  can  see  it  as  long 
as  it's  on  your  head.  .  .  .  Will  you 
try  it?  .  .  .  (She  puts  the  little  green 
hat  on  Tyltyl's  head.)  Now,  turn 
the  diamond.  .  .  .  One  turn  and 
Khen.  .   .  . 

(TYLTYL  has  no  sooner  turned 
the  diamond  than  a  sudden 
and  wonderful  change  comes 
over  everything.  The  old 
Fairy  alters  then  and  there 
into  a  princess  of  marvellous 
beauty;  the  flints  of  which 
the  cottage  walls  are  built 
light  up,  turn  blue  as  sap* 
phires,  become  transparent 
and  gleam  and  sparkle  like 
the  most  precious  stones. 
The  humble  furniture  takes 
life  and  becomes  resplen- 
dent; the  deal  table  assumes 
as  grave  and  noble  an  air  as 
34 


The  Blue  Bird 

a  table  made  of  marble;  the 
face  of  the  clock  winks  its 
eye  and  smiles  genially, 
while  the  door  that  con- 
tains  the  pendulum  opens 
and  releases  the  Hours, 
whichf  holding  one  another 
by  the  hand  and  laughing 
merrily,  begin  to  dance  to 
the  sound  of  delicious  music. 

TYLTYL  {displaying  a  legitimate  bewilder- 

ment  and  pointing  to  the  Hours) 
Who  are  all  those  pretty  ladies  ?  .   .   . 

The  Fairy 
Don't  be  afraid;  they  are  the  hours  of  your 
life  and  they  are  glad  to  be  free  and 
visible  for  a  moment.  .   .   . 

Tyltyl 
And  why  are  the  walls  so  bright?  .   .   .  Are 
they  made   of  sugar   or   of  precious 
stones?  .   .   . 

The  Fairy 
All  stones  are  alike,  all  stones  are  precious; 
but  man  sees  only  a  few  of  them.  .   .  . 

35 


The  Blue   Bird 

(While  they  are  speaking,  the 
scene  of  enchantment  con- 
tinues and  is  completed. 
The  souls  of  the  Quartern- 
loaves,  in  the  form  of 
little  men  in  crust-coloured 
tights,  flurried  and  all  pow- 
dered with  flour,  scramble 
out  of  the  bread-pan  and 
frisk  round  the  table,  where 
they  are  caught  up  by  Fire, 
who,  springing  from  the 
hearth  in  yellow  and  ver- 
milion tights,  writhes  with 
laughter  as  he  chases  the 
loaves.) 

Tyltyl 
Who  are  those  ugly  little  men?  .    .    . 

The  Fairy 

Oh,  they're  nothing;  they  are  merely  the 
souls  of  the  Quartern-loaves,  who  are 
taking  advantage  of  the  reign  of  truth 
to  leave  the  pan  in  which  they  were  too 
tightly  packed.  .   .   . 

36 


The  Blue  Bird 

Tyltyl 

And  the  big  red   fellow,   with  the  nasty 
smell?  .  .  . 

The  Fairy 

Hush!  .  .  .  Don't  speak  too  loud;  that's 
Fire.  .  .  .  He's  dangerous. 
(  This  dialogue  does  not  interrupt 
the  enchantment.  The  Dog 
and  the  Cat,  lying  rolled  up 
at  the  foot  of  the  cupboard, 
utter  a  loud  and  simultane- 
ous cry  and  disappear  down 
a  trap;  and  in  their  places 
rise  two  persons,  one  of 
whom  has  the  face  of  a  bull- 
dog, the  other  that  of  a  tom- 
cat. Forthwith,  the  little 
man  with  the  bull-dog 
face,  whom  we  will  hence- 
forward call  the  Dog, 
rushes  upon  Tyltyl,  kisses 
him  violently  and  over- 
whelms him  with  noisy  and 
impetuous  caresses;  while 
the  little  man  with  the  face 
37 


The  Blue  Bird 

of  a  tom-cat,  whom  we  will 
simply  call  the  Cat,  combs 
his   hair,   washes  his  hands 
and    strokes    his    whiskers 
before  going  up  to  Mytyl.) 
The  Dog  {yelling,  jumping  about,  knock- 
ing up  against  everything,  unbearable) . 
My  little  god !  .    .    .  Good-morning,  good- 
morning,  my  dear  little  god !  ...  At 
last,  at  last  we  can  talk!  ...  I  had 
so  much  to  tell  you !   .    .    .   Bark  and 
wag  my  tail  as  I  might,  you  never  un- 
derstood !  .  .   .  But  now !  .   .   .  Good- 
morning,    good-morning!     ...     I 
love  you !  .   .   .  Shall  I  do  some  of  my 
tricks?  .   .   .  Shall  I  beg?  .  .  .  Would 
you  like  to  see  me  walk  on  my  front 
paws  or  dance  on  my  hind-legs  ?  .    .   . 

Tyltyl  (to  the  Fairy) 
Who    is    this    gentleman    with    the    dog's 
head?  .   .   . 

The  Fairy 
Don't  you   see?     It's  the   soul  of  Tylo, 
whom  you  have  set  free.  .  .  . 

38 


The   Blue   Bird 

The  Cat  (going  up  to  Mytyl  and  put- 
ting out  his  hand  to  her,  with  much  cere' 

mony  and  circumspection) 

Good-morning,  Miss.  .    .    .  How  well  you 

look  this  morning!   .    .    . 

Mytyl 

Good-morning,  sir.  .    .    .    (To  the  Fairy) 

Who  is  it  ?  .  .   . 

The  Fairy 
Why,  don't  you  see  ?  Its  the  soul  of  Tylette 
offering    you    his    hand.    .    .    .    Kiss 
him.   .    .    . 
The  Dog  (hustling  the  Cat) 
Me,  too !  .    .    .  I've  kissed  the  little  god ! 
.   .   .  I've  kissed  the  little  girl !  .   .   . 
I've   kissed   everybody!    .     .     .    Oh, 
grand !  .  .   .  What  fun  we  shall  have  I 
.    .    .  I'm  going  to  frighten  Tylette  I 
Bow,  wow,  wow !  .  .  . 
The  Cat 
Sir,  I  don't  know  you.  .  .  . 
The  Fairy  (threatening  the  Dog  with  her 

stick) 
Keep  still,  will  you,  or  else  you'll  go  back 
into  silence  until  the  end  of  time.  .   .   . 

39 


The  Blue  Bird 

(Meanwhile,  the  enchantment 
has  pursued  its  course:  the 
spinning-wheel  has  begun  to 
turn  madly  in  its  corner  and 
to  spin  brilliant  rays  of 
light;  the  tap,  in  another 
corner,  begins  to  sing  in  a 
very  high  voice  and,  turning 
into  a  luminous  fountain, 
floods  the  sink  with  sheets 
of  pearls  and  emeralds, 
through  which  darts  the 
soul  of  Water,  like  a  young 
girl,  streaming,  dishevelled 
and  tearful,  who  immedi- 
ately begins  to  fight  with 
Fire.) 

Tyltyl 
And  who  is  that  wet  lady?  .    .    . 

The  Fairy 
Don't  be  afraid,  it's  Water  just  come  from 
the  tap.  .   .   . 

( The  milk-jug  upsets,  falls  from 
the   table   and   smashes    on 
40 


The  Blue  Bird 

the    floor;    and    from    the 
spilt  milk  there  rises  a  tallt 
white,    bashful   figure   who 
seems  to  be  afraid  of  every- 
thing.) 
Tyltyl 
And    the    frightened    lady    in    her    night- 
gown?  .    .    . 

The  Fairy 
That's  Milk;  she  has  broken  her  jug.  .  .  . 
( The  su gar-loaf,  at  the  foot 
of  the  cupboard,  grows 
taller  and  wider  and  splits 
its  paper  wrapper,  whence 
issues  a  mawkish  and  hypo- 
critical being,  dressed  in  a 
long  coat  half  blue  and  half 
white,  who  goes  up  to 
Mytyl  with  a  sanctimonu 
ous  smile.) 

Mytyl  {greatly  alarmed) 
What  does  he  want?  .    .    . 

The  Fairy 
Why,  he  is  the  soul  of  Sugar!  .   .   . 

4i 


The  Blue  Bird 

Mytyl  (reassured) 
Has  he  any  barley-sugar?  .   .   . 

The  Fairy 
His  pockets  are  full  of  it  and  each  of  his 
fingers  is  a  sugar-stick.  .   .   . 

( The  lamp  falls  from  the  table 
and,  at  the  same  moment,  its 
flame  springs  up  again  and 
turns  into  a  luminous  maid 
of  incomparable  beauty. 
She  is  dressed  in  long  trans- 
parent and  dazzling  veils 
and  stands  motionless  in  a 
sort  of  ecstasy.) 
Tyltyl 
It's  the  Queen !  .    .    . 

Mytyl 
It's  the  Blessed  Virgin !  .   .   . 

The  Fairy 
No,  my  children;  it's  Light.  .    .    . 

(Meanwhile,  the  saucepans  on 
the  shelves  spin  round 
like  tops;  the  linen-press 
throws  open  its  folding- 
doors  and  unrolls  a  magnifi- 
42 


The  Blue   Bird 

cent  display  of  moon-col- 
oured and  sun-coloured 
stuffs,  with  which  mingles 
a  no  less  splendid  array  of 
rags  and  tatters  that  come 
down  the  ladder  from  the 
loft.  But,  suddenly,  three 
loud  knocks  are  heard  on 
the  door  at  the  right.) 
Tyltyl  {alarmed) 
That's  daddy !  .    .    .  He's  heard  us !  .   .   . 

The  Fairy 
Turn  the  diamond!    .    .    .    From  left  ta 
right!  .   .  . 

(Tyltyl  turns  the  diamond 
quickly.) 
Not  so  quick!  .  .  .  Heavens!  It's  too 
late!  .  .  .  You  turned  it  too  briskly; 
they  will  not  have  time  to  resume  their 
places  and  we  shall  have  a  lot  of  an- 
noyance. .    .    . 

( The    Fairy    becomes    an    old 
woman  again,  the  walls  of 
the  cottage  lose  their  splen- 
dour.    The  Hours  go  back 
43 


The  Blue  Bird 

into  the  clock,  the  spinning' 
wheel  stops,  etc.  But,  in  the 
general  hurry  and  con- 
fusion,  while  Fire  runs 
madly  round  the  room,  look- 
ing for  the  chimney,  one  of 
the  loaves  of  bread,  who 
has  been  unable  to  squeeze 
into  the  pan,  bursts  into 
sobs  and  utters  roars  of 
fright.) 
The  Fairy 
What's  the  matter?  .    .    . 

Bread  {in  tears) 
There's  no  room  in  the  pan !  .   .    . 

The  Fairy  {stooping  over  the  pan) 
Yes,  there  is;   yes,  there  is.    .    .    .    {Push- 
ing  the  other  loaves,  which  have  re- 
sumed their  original  places.)     Come, 
quick,  make  room  there.    .    .    . 

( The  knocking  at  the  door  is  re- 
newed.) 
Bread  {utterly  scared,  vainly  struggling  to 

enter  the  pan) 
I  can't  get  in  I .  .  .  .  He'll  eat  me  first  I  .  .  *. 

44 


The  Blue  Bird 

The  Dog  (frisking  round  Tyltyl) 
My  little  god !  .    .    .  I  am  still  here !  .    .   . 
I  can  still  talk!   ...  I  can  still  kiss 
you  !   .    .    .  Once  more !     Once  more ! 
Once  more !  .    .    . 

The  Fairy 
What,    you    too?    .    .    .    Are    you    there 
still?  .  .   . 

The  Dog 
What  luck!    ...    I  was  too  late  to  re- 
turn to  silence;    the  trap  closed  too 
quickly.   .    .    . 

The  Cat 
So  did  mine.  .    .    .  What  is  going  to  hap« 
pen?  ...  Is  there  any  danger?  .  .   . 
The  Fairy 
Well,  I'm  bound  to  tell  you  the  truth :    all 
those  who  accompany  the  two  children 
will  die  at  the  end  of  the  journey.  .  .  . 
The  Cat  ( *o  the  Dog) 
Come,  let  us  get  back  into  the  trap.  .    .    . 

The  Dog 
No,  no !   .    .    .1  won't !   .    .    „  I  want  to 
go  with  the  little  god!   ...  I  want 
to  talk  to  him  all  the  time!   .    .    . 
4< 


The  Blue  Bird 

The  Cat 
Idiot!  .   .   . 

(More  knocking  at  the  door) 

Bread  (shedding  bitter  tears) 

I    don't  want  to    die   at   the    end   of  the 

journey!  ...  I  want  to  get  back  at 

once  into  my  pan !  .    .    . 

Fire  (who  has  done  nothing  but  run  madly 

round  the  room,  hissing  with  anguish) 
I  can't  find  my  chimney !  .    .   . 
Water  (vainly  trying  to  get  into  the  tap) 
I  can't  get  into  the  tap !  .    .    . 
Sugar  (hovering  round  his  paper  wrapper) 
I've  burst  my  packing-paper!   .    .    . 

Milk  (lymphatic ally  and  bashfully) 
Somebody's  broken  my  little  jug !  .    .    . 

The  Fairy 
Goodness  me,  what  fools  they  are!   .    .    . 
Fools   and   cowards  too !    ...    So 
you  would  rath°-  go  on  living  in  your 
ugly  boxes,   in  your  traps   and  taps, 
than  accompany  the  children  in  search 
of  the  bird?  .    .   . 
All  (excepting  the  Dog  and  Light) 
¥e$,  yes !     Now,  at  once !  .    .    .  My  tap ! 

46 


The  Blue  Bird 

.    .    .    My    pan!    .    .    .    My    chim- 
ney !  .    .    .  My  trap !  .    .    . 
The  Fairy   {to  Light,  who  is  dreamily 

gazing  at  the  wreckage  of  her  lamp) 
And  you,  Light,  what  do  you  say? 

Light 
I  will  go  with  the  children.  .    .    . 

The  Dog  {yelling  with  delight) 
I  too !  .    .   .  I  too !  .    .    . 

The  Fairy 
That's  right.  .  .  .  Besides,  it's  too  late  to 
go  back;  you  have  no  choice  now, 
you  must  all  start  with  us.  .  .  .  But 
you,  Fire,  don't  come  near  anybody; 
you,  Dog,  don't  tease  the  Cat;  and 
you,  Water,  hold  yourself  up  and  try 
not  to  run  all  over  the  place.  .  .  . 
{A    violent    knocking    is    again 

heard  at   the   door   on   the 

right.) 

Tyltyl  {listening) 
There's  daddy  again !    .    .    .  He's  getting 
up  this  time;    I  can  hear  him  walk- 
ing. .    .    . 

47 


The  Blue  Bird 

The  Fairy 

Let  us  go  out  by  the  window.  .  .  .  You 
shall  all  come  to  my  house,  where  I 
will  dress  the  Animals  and  the  Things 
properly.  .  .  .  ( To  Bread)  You, 
Bread,  take  the  cage  in  which  to  put 
the  Blue  Bird.  ...  It  will  be  in  your 
charge.  .  .  .  Quick,  quick,  let  us  waste 
no  time.  ,   .    . 

(  The  window  suddenly  lengthens 
downwards,  like  a  door. 
They  all  go  out;  after  which 
the  window  resumes  its 
-primitive  shape  and  closes 
quite  innocently.  The  room 
has  become  dark  again  and 
the  two  cots  are  steeped  in 
shadow.  The  door  on  the 
right  opens  ajar  and  in  the 
aperture  appear  the  heads  of 
Daddy  and  Mummy  Tyl.) 

Daddy  Tyl 
ft    was    nothing.    .    .    .    It's    the    cricket 
chirping.  .   .   . 

4* 


The  Blue  Bird 

Mummy  Tyl 
Can  you  see  them?  .    .   . 

Daddy  Tyl 
I     can.    .    .    .    They    are    sleeping    quite 
quietly.   .    .    . 

Mummy  Tyl 
I  can  hear  their  breathing.  .   .   . 

( The  door  closes  again) 


CURTAIN 


JlO 


The  Blue  Bird 


ACT  II 

Scene  i. — At  the  Fairy's 

A  magnificent  entrance-hall  in  the  palace  of 
the  Fairy  Berylune.  Columns  of 
gleaming  marble  with  gold  and  silver 
capitals,  staircases,  porticoes,  balus- 
trades, etc. 

Enter  from  the  back,  on  the  right, 
sumptuously  clad,  the  Cat,  Sugar 
and  Fire.  They  come  from  a  room 
which  emits  rays  of  light;  it  is  the 
Fairy's  wardrobe.  The  Cat  has 
donned  the  classic  costume  of  Puss-in- 
boots;  Sugar,  a  silk  dress,  half  white 
and  half  pale-blue;  and  Fire  wears  a 
number  of  many-coloured  aigrettes 
and  a  long  vermilion  mantle  lined  with 
gold.  They  cross  the  whole  length 
of  the  hall  to  the  front  of  the  stage, 
where  the  Cat  draws  them  up  under  a 
portico  on  the  right. 

5l 


The   Blue  Bird 

The  Cat 
This  way.  I  know  every  inch  of  this  pal- 
ace. It  was  left  to  the  Fairy  Berylune 
by  Bluebeard  .  .  .  Let  us  make  the 
most  of  our  last  minute  of  liberty, 
while  the  children  and  Light  pay  their 
visit  to  the  Fairy's  little  daughter. 
...  I  have  brought  you  here  in  order 
to  discuss  the  position  in  which  we  are 
placed.   .    .    .  Are  we  all  here?  .    .    . 

Sugar 
I  see  the  Dog  coming  out  of  the  Fairy's 
wardrobe.   .    .    . 

Fire 
What  on  earth  has  he  got  on?  .    .    . 

The  Cat 
He  has  put  on  the  livery  of  one  of  the 
footmen  of  Cinderella's  coach.  .  .  . 
It  was  just  the  thing  for  him.  .  ,  .  He 
has  the  soul  of  a  flunkey.  .  .  .  But  let 
us  hide  behind  the  balustrade.  .  .  . 
It's  strange  how  I  mistrust  him. 
.  .  .  He  had  better  not  hear  what  I 
have  to  say  to  you.  .  .  . 
52 


The  Blue  Bird 

Sugar 

It   is   too   late.  .    .    .  He   has   discovered 

us.   .    .    .   Look,  here  is  Water  also 

coming  out  of  the  wardrobe.    .    .    . 

Goodness  me,  how  fine  she  is !   .    .    . 

( The  Dog  and  Water  join  the 

first  group.) 

The  Dog  {frisking  about) 
There !    There !  .  .  .  Aren't  we  fine !  .  .  . 
Just    look    at    these    laces    and    this 
embroidery!  .    .    .  It's  real  gold  and 
no  mistake !  .   .   . 

The  Cat  {to  Water) 
Is  that   Catskin's   "colour-of-time"   dress? 
...  I  seem  to  recognise  it.  .   .    . 

Water 
Yes,  it's  the  one  that  suited  me  best.  .   .   . 

Fire  {between  his  teeth) 
She's  not  brought  her  umbrella.  .    .   • 

Water 

What's  that?  .    .    . 

Fire 
Nothing,  nothing.  .    .   . 

S3 


The  Blue  Bird 

Water 
I  thought  you  might  be  speaking  of  a  great 
red  nose  I  saw  the  other  day.  .    .    . 
The  Cat 
Come,  don't  let  us  quarrel;  we  have  more 
important  things  to  do.  .    .    .  We  are 
only    waiting    for    Bread;     where    is 
he?  .    .    . 

The  Dog 
He    was    making    an    endless    fuss    about 
choosing  his  dress.   .    .    . 
Fire 
Worth  while,   isn't  it,    for  a   fellow  who 
looks  a  fool  and  carries  an  enormous 
stomach?  .    .    . 

The  Dog 
At  last,  he  decided  in  favour  of  a  Turkish 
robe,  adorned  with  gems,  a  scimitar 
and  a  turban.  .    .    . 
The  Cat 
There  he  is!    .    .    .   He  has  put  on  Blue- 
beard's finest  dress  .   .   . 
Enter   Bread,    in    the   costume   described 
above.    The  silk  robe  is  crossed  tightly 
over  his  huge  stomach.    In  one  hand 
54 


The  Blue  Bird 

he  holds  the  hilt  of  a  scimitar  passed 
through  his  sash  and  in  the  other  the 
cage  intended  for  the  Blue  Bird. 
Bread  {waddling  conceitedly) 
Well?  .    .    .  What  do  you  think  of  this? 
The  Dog  (frisking  round  the  Loaf) 
How  nice  he  looks !    What  a  fool  he  looks ! 
How  nice  he  looks !      How  nice  he 
looks!  .   .   . 

The  Cat  (to  the  Loaf) 
Are  the  children  dressed?  .    .   . 

Bread 
Yes,  Master  Tyltyl  has  put  on  Hop-o'-my- 
Thumb's  blue  jacket  and  red  breeches; 
and  Miss  Mytyl  has  Gretel's  frock 
and  Cinderella's  slippers.  .  .  .  But 
the  great  thing  was  the  dressing  of 
Light!   .    .    . 

The  Cat 
Why?  .   .   . 

Bread 

The  Fairy  thought  her  so  lovely  that  she 

did  not  want  to  dress  her  at  all !  .   .    . 

Thereupon  I  protested  in  the  name  of 

our  dignity  as  essential  and  eminently 


The  Blue  Bird 

respectable  elements;  and  I  ended  by 
declaring  that,  under  those  condi- 
tions, I  should  refuse  to  be  seen  with 
her.  .    .   . 

Fire 
They  ought  to  have  bought  her  a  lamp- 
shade !   .    .    . 

The  Cat 
And  what  answer  did  the  Fairy  make  ?  .  .  . 

The  Loaf 
She  hit  me  with  her  stick  on  my  head  and 
stomach.   .    .    . 

The  Cat 
And  then  ?  .   .   . 

Bread 
I  allowed  myself  to  be  convinced;    but,  at 
the  last  moment,  Light  decided  on  the 
moonbeam  dress  at  the  bottom  of  the 
chest  with  Catskin's  treasures.  .    .    . 
The  Cat 
Come,  stop  chattering,  time  presses.   .    .    . 
Our  future  is  at  stake.  .   .   .  You  have 
heard — the  Fairy  has  just  said  so — - 
that  the  end  of  this  journey  will,  at  the 
same  time,  mark  the  end  of  our  lives. 
k6 


The  Blue  Bird 

.  .  .  It  is  our  business,  therefore,  to 
prolong  it  as  much  as  possible  and  by 
every  possible  means.  .  .  .  But  there 
is  another  thing:  we  must  think  of 
the  fate  of  our  race  and  the  destiny 
of  our  children.  .  .  . 
Bread 

Hear,  hear !  .    .    .  The  Cat  is  right !  .   .   . 
The  Cat 

Listen  to  me !  .  .  .  All  of  us  here  present, 
Animals,  Things  and  Elements,  pos- 
sess a  soul  which  man  does  not  yet 
know.  That  is  why  we  retain  a  rem- 
nant of  independence;  but,  if  he  finds 
the  Blue  Bird,  he  will  know  all,  he 
will  see  all  and  we  shall  be  completely 
at  his  mercy.  .  .  .  This  is  what  I 
have  just  learned  from  my  old  friend, 
Night,  who  is  also  the  guardian  of  the 
mysteries  of  Life.  .  .  .  It  is  to  our 
interest,  therefore,  at  all  costs  to  pre- 
vent the  finding  of  that  bird,  even  if 
we  have  to  go  so  far  as  to  endanger 
(he  lives  of  the  children  them- 
elves.  .    .    . 

57 


The  Blue  Bird 

The  Dog  (indignantly) 
What's  the  fellow  saying?   .    .    .  Just  say 
that  again,  will  you,  to  see  if  I  heard 
right?  .    .    . 

Bread 
Order!     Order!    .    .    .   It's  not  your  turn 
to  speak!    .    .    .    I'm  in  the  chair  at 
this  meeting.  .    .    . 

Fire 
Who  made  you  chairman?  .    .   . 

Water  (to  Fire) 
Hold  your  tongue !  .   .   .  What  are  you  in- 
terfering with  ?  .   .   . 

Fire 
I  shall  interfere  where  I  choose.  .   .   .  And 
I  want  none  of  your  remarks.  .    .    . 

Sugar  (conciliatorily) 
Excuse  me.   .    .    .   Do  not  let  us  quarrel. 
.    .   .  This  is  a  serious  moment.  .    .    . 
We    must,    above    all   things,    decide 
what  measures  to  adopt.  .   .    . 

Bread 
I  quite  agree  with  Sugar  and  the  Cat.  .   .  ,M 

58 


The  Blue  Bird 

The  Dog 
This  is  ridiculous!    .    .    .    There  is  Man 
and  that's  all !  .   .   .  We  have  to  obey 
him  and  do  as  he  tells  us!  .    .    .  That 
is  the  one  and  only  fact !  .   .   .  I  recog- 
nise no  one  but  him!    .    .    .   Hurrah 
for  Man!  .    .    .  Man  for  ever!  .    .    . 
In  life  or  death,  all  for  Man!   .    .    . 
Man  is  God!   .    .    . 
Bread 
1  quite  agree  with  the  Dog. 

The  Cat  (to  the  Dog) 
But  at  least  give  your  reasons.  .    .    . 

The  Dog 
There  are  no  reasons !    .    .    .   I  love  Man 
and  that's  enough!    ...   If  you  do 
anything  against  him,  I  will  throttle 
you  first  and  I  will  go  and  tell  him 
everything.  .    .    . 
Sugar  (intervening  sweetly) 
Excuse  me.   .    .    .  Let  us  not  embitter  the 
discussion.  .    .    .  From  a  certain  point 
of  view,  you  are  both  of  you  right. 
.  .   .  There  is  something  to  be  said  on 
both  sides.  .   .   . 
59 


The  Blue   Bird 

Bread 

I  quite  agree  with  Sugar!  .  .  . 
The  Cat 

Are  we  not,  all  of  us,  Water,  Fire  and 
you  yourselves,  Bread  and  the  Dog, 
the  victims  of  a  nameless  tyranny? 
.  .  .  Do  you  remember  the  time  when, 
before  the  coming  of  the  despot,  we 
wandered  at  liberty  upon  the  face  of 
the  earth?  .  .  .  Fire  and  Water  were 
the  sole  masters  of  the  world;  and  see 
what  they  have  come  to  1  .  .  .As  for 
us  puny  descendants  of  the  great  wild 
animals.  .  .  .  Look  out !  .  .  .  Pre- 
tend to  be  doing  nothing!  ...  I  see 
the  Fairy  and  Light  coming.  .  .  . 
Light  has  taken  sides  with  Man;  she  is 
our  worst  enemy.  .  .  .  Here  they 
are.  .   .   . 

Enter,  on  the  right,  the  Fairy,  in  the 
shape  of  an  old  woman,  and  Light, 
followed  by  Tyltyl  and  Mytyl. 

The  Fairy 
Well?  .    .    .  What  is  it?  .    .    .  What  are 

60 


The  Blue  Bird 

you  doing  in  that  corner?  .  .  .  You 
look  like  conspirators.  .  .  .  It  is  time 
to  start.  ...  I  have  decided  that 
Light  shall  be  your  leader.  .  .  .  You 
will  obey  her  as  you  would  me  and  I 
am  giving  her  my  wand.  .  .  .  The 
children  will  pay  a  visit  to  their  late 
grandparents  this  evening.  .  .  .  You 
will  remain  behind;  that  is  more  dis- 
creet. .  .  .  They  will  spend  the  even- 
ing in  the  bosom  of  their  dead  family. 
.  .  .  Meanwhile,  you  will  be  getting 
ready  all  that  is  wanted  for  to-mor- 
row's journey,  which  will  be  a  long 
one.  .  .  .  Come,  up,  be  off  and  every 
one  to  his  post!   .    .    . 

The  Cat  {hypocritically) 

That  is  just  what  I  was  saying  to  them, 
madam.  ...  I  was  encouraging  them 
to  do  their  duty  bravely  and  conscien- 
tiously; unfortunately,  the  Dog,  who 
kept  on  interrupting  me.  .  .  . 
The  Dog 

What's  that?  .    .    .  Just  wait  a  bit !   .    .    . 
(He  is  about  to  leap  upon  the 
61 


The   Blue   Bird 

Cat,    but  Tyltyl,    fore* 

seeing  his  intention,   stops 

him     with  a     threatening 
gesture.) 

Tyltyl 
Down,  Tylo !  .   .   .  Take  care; and,  if  ever 
I  catch  you  again  .   .    . 

The  Dog 
My  little  god,  you  don't  know,  it  was  he 
who  .   .   . 

Tyltyl  {threatening  him) 
Be  quiet !  .  .  . 

The  Fairy 
Come,  that  will  do.  .  .  .  Let  Bread  hand 
the  cage  for  this  evening  to  Tyltyl.  .  .  . 
It  is  just  possible  that  the  Blue  Bird 
may  be  hidden  in  the  Past,  at  the 
grandparents'.  ...  In  any  case,  it 
is  a  chance  which  we  must  not  neglect. 
.  .  .  Well,  Bread,  the  cage?  .  .  . 

Bread  (solemnly) 
One  moment,  if  you  please,  Mrs.  Fairy.  . . . 
(Like   an   orator  making  a  speech) 
I  call  upon  all  of  you  to  bear  witness 
62 


The  Blue  Bird 

that  this  silver  cage,  which  was  en- 
trusted to  my  care  by  .  .  . 
The  Fairy  (interrupting  him) 
Enough !  .   .   .  No  speeches !  .   .   .  We  will 
go    out    this    way    and    the    children 
that.  .   .    . 

Tyltyl  (rather  anxiously) 
Are  we  to  go  all  alone  ?  .   .   . 

Mytyl 
I  feel  hungry !  .   .  . 

Tyltyl 
I,  too!  .   .   . 

The  Fairy  (to  Bread) 
Open  your  Turkish  robe  and  give  them  a 
slice  of  your  good  stomach.  .   .    . 

(Bread  opens  his  robe,   draws 
his   scimitar   and   cuts    two 
slices  out  of  his  stomach  and 
hands   them   to   the   Chil- 
dren.) 
Sugar  (approaching  the  Children) 
Allow  me  at  the  same  time  to  offer  you  a 
few  sugar-sticks.  .   .   . 

(He  breaks  off  the  jive  fingers  of 
his  left  hand,   one  by  one, 

63 


The   Blue  Bird 

and   presents    them    to    the 
Children.) 

Mytyl 
What  is  he  doing?  .   .   .  He  is  breaking  all 
his  fingers !  .   .   . 

Sugar  (engagingly) 

Taste  them,  they  are  capital.  .   .   .  They're 

made  of  real  barley-sugar.  .    .    . 

Mytyl  (tasting  one  of  the  fingers) 

Oh,  how  good  they  are!   .    .    .   Have  you 

many  of  them?  .    .    . 

Sugar  (modestly) 
Yes ;  as  many  as  I  want.  .   .    . 

Mytyl 
Does  that  hurt  you  much,  when  you  break 
them  off?  .   .   . 

Sugar 
Not  at  all.    .    .    .   On  the  contrary,  it's  a 
great  advantage;  they  grow  again  at 
once  and  so  I  always  have  new,  clean 
fingers.  .   .   . 

The  Fairy 
Come,  children,  don't  eat  too  much  sugar, 
,.    .    .    Don't  forget  that  you  are  to 
64 


The  Blue  Bird 

have  supper  presently  with  your  grand- 
papa  and  grandmamma.  .   .   . 
Tyltyl 
Are  they  here  ?  .    .   . 

The  Fairy 
You  shall  see  them  at  once.  .    .    . 

Tyltyl 
How   can   we   see   them,   when   they   are 
dead?  .   .   . 

The  Fairy 
How  can  they  be  dead,  when  they  live  in 
your  memory?    .    .    .    Men   do   not 
know  this  secret,  because  they  know 
so  little;  whereas  you,  thanks  to  the 
diamond,   are   about  to  see  that  the 
dead  who  are  remembered  live  as  hap- 
pily as  though  they  were  not  dead.  .  . . 
Tyltyl 
Is  Light  coming  with  us? 

The  Fairy 
No,  it  is  more  proper  that  this  visit  should 
be  confined  to  the  family.  ...  I  will 
wait  near  here,  so  as  not  to  appear  in- 
discreet. .  .  .  They  did  net  invite 
me.  .   .   . 

6« 


The  Blue  Bird 

Tyltyl 
Which  way  are  we  to  go  ?  .   .   . 

The  Fairy 
Over  there.  .  .  .  You  are  on  the  threshold 
of  the  Land  of  Memory.  ...  As 
soon  as  you  have  turned  the  diamond, 
you  will  see  a  big  tree  with  a  board  on 
it,  which  will  show  you  that  you  are 
there.  .  .  .  But  don't  forget  that  you 
are  to  be  back,  both  of  you,  by  a  quar- 
ter to  nine.  .  .  .  It  is  extremely  im- 
portant. .  .  .  Now  mind  and  be  punc- 
tual, for  all  would  be  lost  if  you  were 
late.  .  .  .  Good-bye  for  the  present! 
.  .  .  (Calling  the  Cat,  the  Dog, 
Light,  etc.)  This  way.  .  .  .  And 
the  little  ones  that  way.  .   .   . 

(She  goes  out  to  the  right,  with 

Light,  the  Animals,  etc., 

while  the  Children  go  out 

to  the  left.) 

CURTAIN 

66 


The  Blue  Bird 

Scene  2. — The  Land  of  Memory. 

d  thick  fog,  from  which  stands  out,  on  the 
right,  close  to  the  footlights,  the  trunk 
of  a  large  oak,  with  a  board  nailed  to 
it.  A  vague,  milky,  impenetrable  light 
prevails.  Tyltyl  and  Mytyl  are  at 
the  foot  of  the  oak. 

Tyltyl 
Here  is  the  tree !  .    .   . 

Mytyl 
There's  the  board !  .   .   . 

Tyltyl 
I  can't  read  it.  .    .   .  Wait,  I  will  climb  up 
on  this  root.  .   .   .  That's  it.  .    .    .  It 
says,  "Land  of  Memory." 

Mytyl 
Is  this  where  it  begins  ?  .   .  . 

Tyltyl 
Yes,  there's  an  arrow.  .    .    . 

Mytyl 
Well,  where  are  grandad  and  granny?  .  .  , 

Tyltyl 
Behind  the  fog.  .  .  .  We  shall  see.  .  .  . 

67 


The  Blue  Bird 

Mytyl 
I  can  see  nothing  at  all !  .  .  .1  can't  see  my 
feet  or  my  hands.  .  .  .  {Whimper- 
ing) I'm  cold!  ...  I  don't  want  to 
travel  any  more.  ...  I  want  to  go 
home.  .    .   . 

Tyltyl 
Come,  don't  keep  on  crying,  just  like 
Water.  .  .  .  You  ought  to  be  ashamed 
of  yourself.  ...  A  great  big  little 
girl  like  you.  .  .  .  Look,  the  fog  is 
lifting  already.  .  .  .  We  shall  see 
what's  behind  it.  .   .  . 

( The  mist  begins  to  move;  it 
grows  thinner  and  lighter ', 
disperses,  evaporates.  Soon, 
in  a  more  and  more  trans- 
parent light,  appears,  under 
a  leafy  vault,  a  cheerful 
little  peasant's  cottage,  cov- 
ered with  creepers.  The 
door  and  windows  are  open. 
There  are  bee-hives  under  a 
shed,  flower-pots  on  the 
window-sills,  a  cage  with  a 
68 


The  Blue  Bird 

sleeping  blackbird.  Beside 
the  door  is  a  bench,  on 
which  an  old  peasant  and 
his  wife,  Tyltyl's  grand- 
father and  grandmother, 
are  seated,  both  sound 
asleep.) 
TYLTYL  {suddenly  recognising  them) 
It's  grandad  and  granny !  .    .   . 

Mytyl  {clapping  her  hands) 
Yes !    Yes !  ...  So  it  is !    So  it  is !  .   .   . 

Tyltyl  (still  a  little  distrustful) 
Take  care!    .    .    .  We  don't  know  yet  if 
they  can  stir.  .   .    .  Let's  keep  behind 
the  tree.  .   .   . 

(Granny  Tyl  opens  her  eyes, 
raises  her  head,  stretches 
herself,  gives  a  sigh  and 
looks  at  Gaffer  Tyl,  who 
also  wakes  slowly  from  his 
sleep.) 

Granny  Tyl 
I  have  a  notion  that  our  grandchildren  who 
are  still  alive  are  coming  to  see  us  to- 
day. .    .   . 

69 


The  Blue  Bird 

Gaffer  Tyl 
They  are  certainly  thinking  of  us,  for  I  feel 
anyhow  and  I  have  pins  and  needles  in 
my  legs.  .   .   . 

Granny  Tyl 
I  think  they  must  be  quite  near,  for  I  see 
tears     of    joy     dancing    before    my 
eyes.  .  .  . 

Gaffer  Tyl 
No,  no,  they  are  a  long  way  off.  ...  I  still 
feel  weak.  .   .  . 

Granny  Tyl 
I    tell    you    they    are    here;     I    am    quite 

strong.  .   .  . 
Tyltyl  and  Mytyl  (rushing  tip  from  be- 
hind the  oak) 
Here  we  are !  .  .  .  Here  we  are !  .  .  .  Gaf- 
fer !    Granny !  .  .  .  It's  we !  .  .  .  It's 
we! .  .  . 

Gaffer  Tyl 
There!  .    .    .  You  see?  .    .    .  What  did  I 
tell  you  ?  .    .    .  I  was  sure  they  would 
come  to-day.  .    .    . 

Granny  Tyl 
Tyltyl !  .   .    .  Mytyl !  .   .   .  It's  you !  .   .   . 

70 


The  Blue  Bird 

It's  she !  .  .  .  ( Trying  to  run  to  meet 
them)  I  can't  run!  .  .  .  I've  still  gof 
the  rheumatics !  .   .    . 

Gaffer  Tyl  {hobbling  along  as  fast  as  he 

can) 

No  more  can  I.  .  .  .  That's  because  of  my 
wooden  leg,  which  I  still  wear  instead 
of  the  one  I  broke  when  I  fell  off  the 
big  oak.  .    .    . 

{The  Grandparents  and  the 
Children  exchange  frantic 
embraces.) 

Granny  Tyl 

How  tall  and  strong  you've  grown,  Tyltyl ! 

Gaffer  Tyl  {stroking  Mytyl's  hair) 
And  Mytyl !  .    .    .  Just  look  at  her.  .    .    . 

What     pretty     hair,      what     pretty 

eyes !   .    .    . 

Granny  Tyl 

Come  and  kiss  me  again !  .  .  .  Come  on  to 
my  lap.  .   .   . 

Gaffer  Tyl 
And  what  about  me?  .   .  . 

7i 


The  Blue   Bird 

Granny  Tyl 

No,  no.  .   .   .  Come  to  me  first.  .   .   .  How 
are  Daddy  and  Mummy  Tyl?   .    .    . 
Tyltyl 

Quite  well,  granny.  .  .  .  They  were  asleep 
when  we  went  out.  .    .    . 

Granny  Tyl  (gazing  at  them  and  cover- 
ing them  with  caresses) 

Lord,  how  pretty  they  are  and  how  nice 
and  clean !  .  .  .  Was  it  mummy  who 
washed  you?  .  .  .  And  there  are  no 
holes  in  your  stockings !  .  .  .  I  used 
to  darn  them  once,  you  know.  .  .  . 
Why  don't  you  come  to  see  us  oftener? 
...  It  makes  us  so  happy  I  .  .  .  It  is 
months  and  months  now  that  youVe 
forgotten  us  and  that  we  have  seen  no- 
body. .   .    . 

Tyltyl 

We  couldn't,  granny;  and  to-day  its  only 
because  of  the  Fairy.  .   .    . 
Granny  Tyl 

We  are  always  here,  waiting  for  a  visit 
from  those  who  are  alive.  .  .  .  They 
come  so  seldom !  .    .    .  The  last  time 

J" 


The  Blue  Bird 

you  were  here,  let  me  see,  when  was 
it?  .  .  .It  was  on  All-hallows,  when 
the  church-bells  were  ringing.  .  .  . 
Tyltyl 
All-hallows?  ...  We  didn't  go  out  that 
day,  for  we  both  had  very  bad 
colds.  .   .   . 

Granny  Tyl 
No ;  but  you  thought  of  us.  .   .   . 
Tyltyl 

Yes.  .  .   . 

Granny  Tyl 

Well,  every  time  you  think  of  us,  we  wake 
up  and  see  you  again.  .   .   . 
Tyltyl 
What,  is  it  enough  to  .   .   . 
Granny  Tyl 
But  come,  you  know  that.  .    .    . 

Tyltyl 
No,  I  didn't  know.  .    .    . 

Granny  Tyl  (to  Gaffer  Tyl) 
It's  astonishing,  up  there.  .   .   .  They  don't 
know  yet.  ...  Do  they  never  learn 
anything?  .   .    . 
73 


The  Blue  Bird 

Gaffer  Tyl 
It's  as  in  our  own  time.  .    .    .  The  Living 
are  so  stupid  when  they  speak  of  the 
Others.  .    .    . 

Tyltyl 
Do  you  sleep  all  the  time?  .   .   . 

Gaffer  Tyl 
Yes,  we  get  plenty  of  sleep,  while  waiting 
for  a  thought  of  the  Living  to  come 
and  wake  us.  .  .  .  Ah,  it  is  good  to 
sleep  when  life  is  done.  .  .  .  But  it 
is  pleasant  also  to  wake  up  from  time 
to  time.  .   .   . 

Tyltyl 
So  you  are  not  really  dead?  .    .    . 

Gaffer  Tyl 
What  do  you  say?  .    .    .  What  is  he  say- 
ing?   .     .     .    Now  he's  using  words 
we  don't  understand.  .   .   .  Is  it  a  new 
word,  a  new  invention?  .    .    . 
Tyltyl 
Die  word  "dead"?  .    .    . 

Gaffer  Tyl 
Y«s,  that  was  the  word.  .  .  .  What  does  it 
mean?  .   .  . 

74 


The  Blue  Bird 

Tyltyl 
Why,     it    means    that    one's    no    longei 
alive.  .   .   . 

Gaffer  Tyl 
How  silly  they  are,  up  there !  .   .   . 

Tyltyl 
Is  it  nice  here?  .    .    . 

Gaffer  Tyl 
Oh,  yes ;  not  bad,  not  bad ;  and,  if  one  could 
just  have  a  smoke.  .    .    . 

Tyltyl 
Aren't  you  allowed  to  smoke  ?  .    .    . 

Gaffer  Tyl 
Yes,    it's    allowed;    but    I've    broken    my 
pipe.  .   .    . 

Granny  Tyl 
Yes,  yes,  all  would  be  well,  if  only  you 
would  come  and  see  us  oftener.  .  .  . 
Do  you  remember,  Tyltyl  ?  .  .  .  The 
last  time  I  baked  you  a  lovely  apple- 
tart.  .  .  .  You  ate  such  a  lot  of  it 
that  you  made  yourself  ill.  .   .   . 

Tyltyl 
But  I  haven't  eaten  any  apple-tart  since  last 

75 


The  Blue  Bird 

year.  .    .    .  There  were  no  apples  this 
year.  .   .   . 

Granny  Tyl 

Don't  talk  nonsense.  .    .    .  Here,  we  have 
them  always.  .    .    . 
Tyltyl 

That's  different.  .   .   . 

Granny  Tyl 

What?  That's  different?  .  .  .  Why, 
nothing's  different  when  we're  able  to 
kiss  each  other.  .   .   . 

Tyltyl    (looking    first    at    his    Grand- 
mother and  then  at  his  Grandfather) 

You  haven't  changed,  grandad,  not  a  bit, 
not  a  bit.  .  .  .  And  granny  hasn't 
changed  a  bit  either.  .  .  .  But  you're 
better-looking.  .    .    . 

Gaffer  Tyl 

Well,  we  feel  all  right.  .  .  .  We  have 
stopped  growing  older.  .  .  .  But  you, 
how  tall  you're  growing!  .  .  .  Yes, 
you're  shooting  up  finely.  .  .  .  Look, 
over  there,  on  the  door,  is  the  mark 
of  the  last  time.  .  .  .  That  was  on 
All-hallows.   .    .    .    Now  then,  stand 

26 


The  Blue  Bird 

up  straight.  .   .   .   (Tyltyl  stands  up 
against  the  door.)    Four  fingers  taller  1 
.   .   .  That's  immense !  .   .   .   (Mytyl 
also  stands  up  against  the  door.)  And 
Mytyl,  four  and  a  half!   .    .   ..  Aha, 
ill  weeds   grow  apace !    .    .     .    How 
they've     grown,     oh,     how     they've 
grown !  .    .    . 
Tyltyl    {looking  around  him  with 
delight) 
Nothing  is  changed,  everything  is  in  its  old 
place!   .    .    .  Only  everything  is  pret- 
tier !  .   .   .  There  is  the  clock  with  the 
big   hand   which    I    broke   the   point 
off.   .    .    . 

Gaffer  Tyl 
And  here  is  the  soup-tureen  you  chipped  a 
corner  off.  .   .   . 

Tyltyl 

And  here  is  the  hole  which  I  made  in  the 

door,  the  day  I  found  the  gimlet. .  .  . 

Gaffer  Tyl 

Yes,  you've   done  some  damage   in  your 

*ime !  .   .    .  And  here  is  the  plum-tree 

77 


The  Blue  Bird 

in  which  you  were  so  fond  of  climbs 
ing,  when  I  wasn't  looking.  ...  It 
still  has  its  fine  red  plums.  .    .    . 

Tyltyl 

But  they  are  finer  than  ever!   .    .    . 

Mytyl 
And  here  is  the  old  blackbird !  .    .    .  Does 
he  still  sing?   .    .    . 

( The  blackbird  wakes  and  be- 
gins to  sing  at  the  top  of 
his  voice.) 

Granny  Tyl 
You  see.   ...  As  soon  as  one  thinks  of 
him.   .    .    . 

Tyltyl  {observing  with  amazement  thai 
the  blackbird  is  quite  blue) 

But  he's  blue !  .  .  .  Why,  that's  the  bird, 
the  Blue  Bird  which  I  am  to  take  back 
to  the  Fairy.  .  .  .  And  you  never  told 
us  that  you  had  him  here !  .  .  .  Oh, 
he's  blue,  blue,  blue  as  a  blue  glass 
marble!  .  .  .  (Entreatingly)  Gran- 
dad, granny,  will  you  give  him  to 
me?  .   .   . 

78 


The  Blue  Bird 

Gaffer  Tyl 
Yes,  perhaps,  perhaps.  .    .   .  What  do  you 
think,  granny?  .   .   . 

Granny  Tyl 

Certainly,  certainly.  .  .  .  What  use  is  he 
to  us?  .  .  .  He  does  nothing  but 
sleep.  .  .  .  We  never  hear  him 
sing.  .   .    . 

Tyltyl 
I  will  put  him  in  my  cage.  ...  I  say, 
where  is  my  cage  ?  .  .  .  Oh,  I  know, 
I  left  it  behind  the  big  tree.  .  .  .  {He 
runs  to  the  tree,  fetches  the  cage  and 
puts  the  blackbird  into  it.)  So,  really, 
you've  really  given  him  to  me?  .  .  . 
How  pleased  the  Fairy  will  be !  .  .  . 
And  Light  too !  .   .   . 

Gaffer  Tyl 
Mind  you,  I  won't  answer  for  the  bird. 
.  .  .  I'm  afraid  that  he  will  never  get 
used  again  to  the  restless  life  up  there 
and  that  he'll  come  back  here  by  the 
first  wind  that  blows  this  way.  .  .  . 
However,  we  shall  see.  .  .  .  Leave 
7Q 


The   Blue  Bird 

him  there,  for  the  present,  and  come 
and  look  at  the  cow.   .    .    . 
Tyltyl  (noticing  the  hives) 
And  how  are  the  bees  getting  on? 

Gaffer  Tyl 
Oh,  pretty  well.  .    .    .  They  are  no  longer 
alive,  as  you  call  it  up  there;  but  they 
work  hard.  .    .    . 
Tyltyl   {going  up  to  the  hives) 
Oh,  yes !  .   .   .  I  can  smell  the  honey !  .   .   . 
How  heavy  the  hives  must  be!   .    .    . 
All  the  flowers  are  so  beautiful!  .    .    . 
And  my  little  dead  sisters,   are  they 
here  too?  .   .   . 

Mytyl 
And  where  are  my  three  little  brothers  who 
were  buried?  .    .    . 

(At    these    words,    seven    little 
Children,      of     different 
sizes,   like  a  set  of  Pan's 
pipes,  come  out  of  the  cot- 
tage}  one  by  one.) 
Granny  Tyl 
Here  they  are,  here  they  are !  ...  As  soon 
as  you  think  of  them,  as  soon  as  you 
.80 


The  Blue  Bird 

speak  of  them,   they   are  there,   the 

darlings !  .    .    . 

(Tyltyl  and  Mytyl  run  to 
meet  the  Children.  They 
hustle  and  hug  one  an- 
other and  dance  and  whirl 
about  and  utter  screams  of 
joy.) 

Tyltyl 
Hullo,  Pierrot !  .  .  .  ( They  clutch  each 
other  by  the  hair.)  Ah,  so  we're  go- 
ing to  fight  again,  as  in  the  old  days. 
.  .  .  And  Robert!  ...  I  say,  Jean, 
what's  become  of  your  top?  .  .  . 
Madeleine  and  Pierette  and  Pauline! 
.    .    .  And  here's  Riquette !   .    .    . 

Mytyl 
Oh,  Riquette,  Riquette!    .    .    .    She's  still 
crawling  on  all  fours!   .    .    . 

Granny  Tyl 
Yes,  she  has  stopped  growing. 
Tyltyl    (noticing  the  little  Dog  yelping 

around  them) 
There's  Kiki,   whose   tail   I   cut  off  with 

81 


The  Blue  Bird 

Pauline's  scissors.    .    .    .    He  hasn't 
changed  either.   .    .    . 

Gaffer  Tyl  (sententiously) 
No,  nothing  changes  here.  .    .    . 

Tyltyl 

And  Pauline  still  has  a  pimple  on  her 
nose.  .    .    . 

Granny  Tyl 
Yes,  it  won't  go  away;  there's  nothing  to 
be  done  for  it.  .    .    . 

Tyltyl 

Oh,  how  well  they  look,  how  fat  and  glossy 
they  are!  .  .  .  What  jolly  cheeks 
they  have!  .  .  .  They  look  well 
fed.   .    .    . 

Granny  Tyl 
They  have  been  much  better  since   they 
ceased  living.   .    .    .   There's  nothing 
more  to  fear,  nobody  is  ever  ill,  one 
has  no  anxiety.  .    .    . 

( The    clock    inside    the   cottage 
strikes  eight.) 

Granny  Tyl  {amazed) 
What's  that?  .   .   . 

$2 


The  Blue  Bird 

Gaffer  Tyl 
I  don't  know,  I'm  sure.   ...   It  must  be 
the  clock.  .    .    . 

Granny  Tyl 
It  can't  be.  .    .    .  It  never  strikes.  .    .    . 

Gaffer  Tyl 
Because     we     no     longer     think     of     the 
time.   .    .    .  Was  any  one  thinking  of 
the  time?  .    .    . 

Tyltyl 
Yes,  I  was.  .    .    .  What  is  the  time?  .    .   . 

Gaffer  Tyl 
I'm  sure  I  can't  tell.   .    .    .   I've  forgotten 
how.  ...  It  struck  eight  times,  so  I 
suppose    it's    what    they    call    eight 
o'clock  up  there.  .    .    . 
Tyltyl 
Light  expects  me  at  a  quarter  to  nine.  .   .   . 
It's  because  of  the  Fairy.    .    .    .    It's 
extremely    important.     .      .      .     I'm 
off!  .    .    . 

Granny  Tyl 
Don't  leave  us  like  that,  just  as  supper's 
ready!    .    .    .    Quick,  quick,  let's  lay 
the  table  outside.  .    .    .  I've  got  some 
8.1 


The  Blue  Bird 

capital  cabbage-soup  and  a  beautiful 

plum-tart.   .    .    . 

( They  get  out  the  table,  dishes, 
plates,  etc.,  and  lay  for  sup- 
per outside  the  door,  all 
helping.) 

Tyltyl 
Well,  as  I've  got  the  Blue  Bird.  .  .  .  And 
then  it's  so  long  since  I  tasted  cab- 
bage-soup. .  .  .  Ever  since  I've  been 
travelling.  .  .  .  They  don't  have  it  at 
the  hotels.    .    .    . 

Granny  Tyl 
There !  .    .    .  That  didn't  take  long !   .    .   . 
Sit  down,  children.  .    .   .  Don't  let  us 
lose  time,  if  you're  in  a  hurry.  .    .    . 
{They    have   lit   the    lamp    and 
served     the     soup.        The 
Grandparents     and    the 
Children  sit  down  round 
the      talie,      jostling      and 
elbowing    one   another  and 
laughing      and      screaming 
with  pleasure.) 
U 


The  Blue  Bird 

Tyltyl  (eating  like  a  glutton) 
How  good  it  is!    .    .    .   Oh,  how  good  it 

is !   ...  I  want  some  more !     More ! 

.    .    .    (He    brandishes     his    wooden 

spoon  and  noisily  hits  his  plate  with 

it.) 

Gaffer  Tyl 
Come,   come,   a   little  more   quiet.    .     .     . 

You're  just  as  ill-behaved  as  ever;  and 

you'll  break  your  plate.   .    .    . 

Tyltyl  (half -raising  himself  on  his 
stool) 
I  want  more,  more!  .  .  .  (He  seizes  the 
tureen,  drags  it  toward  him  and  up- 
sets it  and  the  soup,  which  trickles  over 
the  table  and  down  over  their  knees 
and  scalds  them.  Yells  and  screams 
of  pain.) 

Granny  Tyl 
There !  .   .  .  I  told  you  so !  .   .  . 
Gaffer  Tyl  (giving  Tyltyl  a  loud  box 
on  the  ear) 

That's  one  for  you !  .    .    . 

Tyltyl    (staggered  for  a  moment,   next 


The  Blue   Bird 

puts  his  hand  to  his  cheek  with  an  expres- 
sion of  rapture) 

Oh,  that's  just  like  the  slaps  you  used  to 
give  me  when  you  were  alive !  .  .  . 
Grandad,  how  nice  it  was  and  how 
good  it  makes  one  feel!  ...  I  must 
give  you  a  kiss !  .   .   . 

Gaffer  Tyl 
Very  well;  there's  more  where  that  came 
from,  if  you  like  them.   .    .    . 

( The     clock     strikes     half-past 
eight) 

Tyltyl  (starting  up) 
Half-past  eight!  .   .   .   (He  flings  down  his 
spoon.)     Myltyl,  we've  only  just  got 
time!  .   .   . 

Granny  Tyl 
Oh,  I  say !  .   .   .  Just  a  few  minutes  more ! 
.    .    .  Your  house  isn't  on  fire !  .    .    . 
We  see  you  so  seldom.  .    .    . 

Tyltyl 
No,  we  can't  possibly.   .    .    .   Light  is  so 
kind.  .   .   .  And  I  promised  her.  .   *  . 
Come,  Mytyl,  come !  .  .  . 
86 


The  Blue  Bird 

Gaffer  Tyl 
Goodness  gracious,  how  tiresome  the  Liv- 
ing are  with  all  their  business  and  ex- 
citement! .   .   . 

Tyltyl  (taking  his  cage  and  hurriedly 
kissing  everybody  all  round) 

Good-bye,  grandad.  .  .  .  Good-bye, 
granny.  .  .  .  Good-bye,  brothers  and 
sisters,  Pierrot,  Robert,  Pauline, 
Madeleine,  Riquette  and  you,  too, 
Kiki.  ...  I  feel  we  mustn't  stay. 
.  .  .  Don't  cry,  granny;  we  will  come 
back  often.  .   .  . 

Granny  Tyl 
Come  back  every  day !  .    .    . 

Tyltyl 
Yes,  yes;  we  will  come  back  as  often  as  we 
can.  .  .  . 

Granny  Tyl 
It's  our  only  pleasure  and  it's  such  a  treat 
for  us  when  your  thoughts  visit  us ! . . . 
Gaffer  Tyl 
*Ve  have  no  other  amusements.  .  .  • 

87 


The  Blue  Bird 

Tyltyl 
Quick,  quick!   .    .    .   My  cage!   .    .    .   My 
bird!  .    .   . 
Gaffer  Tyl  (handing  him  the  cage) 
Here  they  are !    .    .    .   You  know,  I  don't 
warrant  him;  and  if  he's  not  the  right 
colour  .    .    . 

Tyltyl 
Good-bye !    Good-bye !  .   .   . 

The  Brothers  and  Sisters  Tyl 
Good-bye,     Tyltyl!      .      .      .     Good-bye, 
Mytyl!    .    .    .   Remember  the  barley- 
sugar  !  .    .    .  Good-bye !  .    .    .  Come 
again!  .    .    .  Come  again!  .    .    . 

( They  all  wave  their  handker- 
chiefs while  Tyltyl  and 
Mytyl  slowly  move  away. 
But  already,  during  the  last 
sentences,  the  fog  of  the  be- 
ginning of  the  scene  has 
been  gradually  re-forming, 
so  that,  at  the  end,  all  has 
disappeared  in  the  mist  and, 
at  the  fall  of  the  curtain, 
Tyltyl  and  Mytyl  are 
88 


The  Blue  Bird 

again    alone    visible    under 
the  big  oak.) 
Tyltyl 
It's  this  way,  Mytyl.  .    .    . 

Mytyl 
Where  is  Light?  .   .   . 

Tyltyl 

I  don't  know.  .  .   .  {Looking  at  the  bird  in 

the  cage.)     But  the  bird  is  no  longer 

blue !  .  .  .  He  has  turned  black  I  .   .  . 

Mytyl 

Give  me  your  hand,  little  brother.   .    .    . 

I  feel  so  frightened  and  so  cold.  .   .  „ 


CURTAIN 


S9 


The  Blue  Bird 

Act  III. 

Scene  i. —  The  Palace  of  Night. 

A  large  and  wonderful  hall  of  an  austere, 
rigid,  metallic  and  sepulchral  magnifi- 
cence, giving  the  impression  of  a 
Greek  temple  with  columns,  archi- 
traves, flagstones  and  ornaments  of 
black  marble,  gold  and  ebony.  The 
hall  is  trapezium-shaped.  Basalt 
steps  t  occupying  almost  the  entire 
width,  divide  it  into  three  successive 
stages,  which  rise  gradually  toward 
the  back.  On  the  right  and  left,  be- 
tween the  columns,  are  doors  of  som- 
bre bronze.  At  the  back,  a  monu- 
mental door  of  brass.  The  palace  is 
lit  only  by  a  vague  light  that  seems  to 
emanate  mainly  from  the  brilliancy  of 
the  marble  and  the  ebony.  At  the 
rise  of  the  curtain,  Night,  in  the  form 
of  a  very  old  woman,  clad  in  long, 
black  garments,  is  seated  on  the  steps 
91 


The  Blue  Bird 

of  the  second  stage,  between  two 
children,  of  whom  one,  almost  naked, 
like  Cupid,  is  smiling  in  a  deep  sleep, 
while  the  other  is  standing  up,  motion- 
less and  veiled  from  head  to  foot. 

Enter  from  the  right,  in  th^  foreground, 
the  Cat 

Night 
Who  goes  there  ? 
The  Cat  {sinking  heavily  upon  the  marble 

steps) 
It  is  I,  Mother  Night.   .    .    .   I  am  worn 
out.  .    .    . 

Night 
What's  the  matter,  child?  .    .    .  You  look 
pale  and  thin  and  you  are  splashed 
with  mud  to  your  very  whiskers.  .   .   . 
Have  you  been  fighting  on  the  tiles 
again,  in  the  snow  and  rain?  .    .    . 
The  Cat 
It  has  nothing  to  do  with  the  tiles!   .    .    . 
It's  our  secret  that's  at  stake!   .    .    . 
It's  the  beginning  of  the  end!   .    .    , 
92 


The  Blue  Bird 

I  have  managed  to  escape  for  a  mo- 
ment to  warn  you;  but  I  greatly  fear 
that  there  is  nothing  to  be  done.  .    .   . 

Night 
Why?  .    .    .  What  has  happened?  .    .    . 

The  Cat 
I  have  told  you  of  little  Tyltyl,  the  wood- 
cutter's  son,    and   of   the   magic   dia- 
mond.  .    .    .  Well,  he  is  coming  here 
to  demand  the  Blue  Bird  of  you.  .   .   . 

Night 
He  hasn't  got  it  yet.  .    .    . 

The  Cat 

He  will  have  it  soon,  unless  we  perform 
some  miracle.  .  .  .  This  is  how  the 
matter  stands:  Light,  who  is  guiding 
him  and  betraying  us  all,  for  she  has 
placed  herself  entirely  on  Man's  side, 
Light  has  learned  that  the  Blue  Bird, 
the  real  one,  the  only  one  that  can  live 
in  the  light  of  day,  is  hidden  here, 
among  the  blue  birds  of  the  dreams 
that  live  on  the  rays  of  the  moon  and 
die  as  soon  as  they  set  eyes  on  the  sun. 
en 


The  Blue  Bird 

.  .  .  She  knows  that  she  is  forbidden 
to  cross  the  threshold  of  your  palace, 
but  she  is  sending  the  children;  andr 
as  you  cannot  prevent  Man  from  open- 
ing the  doors  of  your  secrets,  I  do  not 
know  how  all  this  will  end.  ...  In 
any  case,  if,  unfortunately,  they  should 
lay  their  hands  on  the  real  Blue  Bird, 
there  would  be  nothing  for  us  but  to 
disappear.  .   .   . 

Night 

Oh  dear,  oh  dear !  .  .  .  What  times  we 
live  in !  .  .  .1  never  have  a  moment's 
peace.  ...  I  cannot  understand  Man, 
these  last  few  years.  .  .  .  What  is 
he  aiming  at?  .  .  .  Must  he  abso- 
lutely know  everything?  .  .  .  Al- 
ready he  has  captured  a  third  of  my 
Mysteries,  all  my  Terrors  are  afraid 
and  dare  not  leave  the  house,  my 
Ghosts  have  taken  flight,  the  greater 
part  of  my  Sicknesses  are  ill.  .  .  . 
The  Cat 

I  know,  Mother  Night,  I  know,  the  times 
are  hard  and  we  are  almost  alone  in 


The  Blue  Bird 

our  struggle  against  Man.  .  .  .  But  I 
hear  them  coming.  ...  I  see  only  one 
way:  as  they  are  children,  we  must 
give  them  such  a  fright  that  they  will 
not  dare  to  persist  or  to  open  the  great 
door  at  the  back,  behind  which  they 
would  find  the  Birds  of  the  Moon. 
.  .  .  The  secrets  of  the  other  caverns 
will  be  enough  to  distract  their  atten- 
tion and  terrify  them.  .  .  . 
Night  (listening  to  a  sound  outside) 

What  do  I  hear?  .  .  .  Are  there  many  of 
them?  .   .   . 

The  Cat 

It  is  nothing;  it  is  our  friends,  Bread  and 
Sugar;  Water  is  not  very  well  and 
Fire  could  not  come,  because  he  is  re- 
lated to  Light.  .  .  .  The  Dog  is  the 
only  one  who  is  not  on  our  side;  but 
it  is  never  possible  to  keep  him 
away.  .    .    . 

(Enter  timidly ,  on  the  right,  in  the  fore- 
ground,   Tyltyl,    Mytyl,    Bread, 
Sugar  and  the  Dog.) 
oc 


The  Blue  Bird 

The  Cat  (rushing  up  to  Tyltyl) 
This  way,  little  master,  this  way.  ...  I 
have  told  Night,  who  is  delighted  to 
see  you.  .  .  .  You  must  forgive  her, 
she  is  a  little  indisposed;  that  is  why 
she  was  not  able  to  come  to  meet 
you.  .   .   . 

Tyltyl 
Good-day,  Mrs.  Night.  .   .   . 

Night  (in  an  offended  voice) 
Good-day?   ...    I  am  not  used  to  that. 
.   .   .  You  might  say,  Good-night,  or, 
at  least,  Good-evening.  .   .   . 

Tyltyl  (mortified) 
I  beg  your  pardon,  ma'am.  ...  I  did  not 
know.    .     .     .     (Pointing   to   the   two 
Children.)     Are  those  your  two  lit- 
tle boys  ?  .   .   .  They  are  very  nice.  .  .  , 

Night 
This  is  Sleep.  .   .   . 

Tyltyl 
Why  is  he  so  fat?  .    .    . 

Night 
That  is  because  he  sleeps  well.  .    .   . 

96 


The  Blue   Bird 

Tyltyl 
And  the  other,  hiding  himself?  .    .    .  Why 
does  he  veil  his  face?  .    .    .  Is  he  ill? 
.   .   .  What  is  his  name?  .   .   . 
Night 
That  is  Sleep's  sister.  .    .    .  It  is  better  not 
to  mention  her  name.   .    .    . 
Tyltyl 
Why?  .  .  . 

Night 
Because  her  name  is  not  pleasant  to  hear. 
.  .  .  But  let  us  talk  of  something  else. 
.  .  .  The  Cat  tells  me  that  you  have 
come  here  to  look  for  the  Blue 
Bird.  .   .  . 

Tyltyl 
Yes,  ma'am,  if  you  will  allow  me.    .    .    . 
Will  you  tell  me  where  he  is?  .    .    . 
Night 
I  don't  know,  dear.    .    .    .   All  I  can  say 
is  that  he  is  not  here.    ...    I  have 
never  seen  him.   .    .    . 
Tyltyl 
Yes,  yes.   .    .    .  Light  told  me  that  he  was 
here ;  and  Light  knows  what  she  is  say- 
97 


The  Blue  Bird 

ing.    .    .    .    Will  you  hand  me  your 
keys?  .   .   . 

Night 
But  you  must  understand,  dear,  that  I  can- 
not give  my  keys  like  that  to  the  first 
comer.  ...  I  have  the  keeping  of  all 
Nature's  secrets  and  I  am  absolutely 
forbidden  to  deliver  them  to  anybody, 
especially  to  a  child.  .  .   . 
Tyltyl 
You  have  no  right  to  refuse  them  to  Man 
when  he  asks  you  for  them.   ...   I 
know  that.   .    .    . 

Night 
Who  told  you?  .    .    . 

Tyltyl 
Light.  .   .  . 

Night 

Light  again!     Always  Light!   .    .    .  Ho>> 

dare  she  interfere,  how  dare  she?  .  .  . 

The  Dog 

Shall  I  take  them  from  her  by  force,  my 

little  god  ?  .  .  . 

Tyltyl 
Hold  your  tongue,  keep  quiet  and  try  to  be- 

98 


The   Blue  Bird 

have.    .    .    .    (To  Night)      Come, 
madam,  give  me  your  keys,  please.  .  .  . 
Night 

Have  you  the  sign,  at  least?  .   .   .  Where  is 
it?  .  .   . 

Tyltyl  (touching  his  hat) 

Behold  the  Diamond!  .    .    „ 

Night  (resigning  herself  to  the  inevitable) 

Well,  then  .    .   .  Here  is  the  key  that  opens 

all  the  doors  of  the  hall.  .   .   .  Look  to 

yourself  if  you  meet  with  a  misfortune. 

...  I  will  not  be  responsible.  .    .    . 

Bread  (very  anxiously) 

Is  it  dangerous?  .   .   . 

Night 

Dangerous?  ...  I  will  go  so  far  as  to  say 
that  I  myself  do  not  know  what  I 
shall  do  when  certain  of  those  bronze 
doors  open  upon  the  abyss.  .  .  .  All 
around  the  hall,  in  each  of  those  basalt 
caves,  are  all  the  evils,  all  the 
plagues,  all  the  sicknesses,  all  the  ter- 
rors, all  the  catastrophes,  all  the  mys- 
teries that  have  afflicted  life  since  the 
beginning  of  the  world.  ...  I  have 
99 


The   Blue   Bird 

had  trouble  enough  to  imprison  them 
there  with  the  aid  of  Destiny;  and  it  is 
not  without  difficulty,  I  assure  you, 
that  I  keep  some  little  order  among 
those  undisciplined  characters.  .  .  . 
You  have  seen  what  happens  when  one 
of  them  escapes  and  shows  itself  on 
earth.  .    .    . 

Bread 
My  great  age,  my  experience  and  my  devo- 
tion make  me  the  natural  protector  of 
these  two  children;  therefore,  Mrs. 
Night,  permit  me  to  ask  you  a  ques- 
tion. .  .  . 

Night 
Certainly.  .   .   . 

Bread 
In  case   of  danger,   which  is  the  way  of 
escape?  .   .   . 

Night 
There  is  no  way  of  escape. 
Tyltyl  (taking  the  key  and  climbing  the 

first  steps) 
Let  us  begin  here.  .  .   .  What  is  behind  this 
bronze  door?  .  .  . 
ioo 


The  Blue  Bird 

Night 
I  think  it  is  the  Ghosts.  .  .  .  It  is  long  since 
I  opened  the  door  and  since  they  came 
out.  .  .  . 
Tyltyl  (placing  the  key  in  the  lock) 
I  will  see.   .    .    .    (To  Bread)  Have  you 
the  cage  for  the  Blue  Bird?  .   .   . 
Bread  (with  chattering  teeth) 
I'm  not  frightened,  but  don't  you  think  it 
would  be  better  not  to  open  the  door, 
but  to  peep  through  the  keyhole  ?  .  .  . 
Tyltyl 
I  don't  want  your  advice.  .    .   . 

Mytyl  (suddenly  beginning  to  cry) 
I  am  frightened!   .    .    .  Where  is  Sugar? 
...  I  want  to  go  home !  .    .   . 
Sugar  (eagerly,  obsequiously) 
Here  I  am,  miss,  here  I  am.   .    .    .  Don't 
cry,  I  will  break  off  one  of  my  fingers 
so  that  you  may  have  a  sugar-stick.  .  .  . 
Tyltyl 
Enough  of  this !  .   .   . 

(He  turns  the  key  and  cautiously 
opens  the  door.  Forthwith, 
five    or    six    Ghosts    of 

IOI 


The  Blue  Bird 

strange  and  different  forms 
escape  and  disperse  on 
every  side.  Mytyl  gives 
a  scream  of  affright.  Bread, 
terrified,  throws  away  the 
cage  and  goes  and  hides  at 
the  back  of  the  hall,  while 
Night,  running  after  the 
Ghosts,  cries  out  to 
Tyltyl.) 

Night 
Quick !  Quick !  .  .  .  Shut  the  door !  .  .  . 
They  will  all  escape  and  we  should 
never  be  able  to  catch  them  again !  .  .  . 
They  have  felt  bored  in  there,  ever 
since  Man  ceased  to  take  them  seri- 
ously. .  .  .  {She  runs  after  the 
Ghosts  and  endeavours,  with  the  aid 
of  a  whip  formed  of  snakes,  to  drive 
them  back  to  the  door  of  their  prison.) 
Help  me!  .  .  .  Here!  .  .  . 
Here!  .   .   . 

Tyltyl  (to  the  Dog) 

Help  her,  Tylo,  at  them !  .   .   . 

102 


The  Blue   Bird 

The  Dog  (leaping  up  and  barking) 
Yes,  yes,  yes !  .  .   . 

Tyltyl 
And  Bread,  where's  Bread?  .   .   . 

Bread  (at  the  back  of  the  hall) 
Here.  ...  I  am  near  the  door  to  prevent 
them  from  going  out.  .   .   . 

(One  of  the  Ghosts  moves  in 

that  direction  and  he  rushes 

away  at  full  speed,  uttering 

yells  of  terror.) 

Night  (to  three  Ghosts  whom  she  has 

seized  by  the  neck) 
This  way,  you !  .   .   .  (To  Tyltyl)  Open 
the  door  a  little.  .   .   .   (She  pushes  the 
Ghosts  into  the  cave.)     There,  that's 
it.    ...    ( The  Dog  brings  up  two 
more.)     And  these  two.  .    .    .  Come, 
quick,  in  with  you !   .    .    .  You  know 
you're  only   allowed  out  on  All-hal- 
lows. .    .    .    (She  closes  the  door.) 
Tyltyl  (going  to  another  door) 
What's  behind  this  one?  .    .    . 

Night 
What  is  the  good  ?  .  .  .  I  have  already  told 

10? 


The  Blue  Bird 

you  the  Blue  Bird  has  never  been  here. 
..    .    .  However,  as  you  please.   .    .    . 
Open  the  door,  if  you  like.  .    .    .  It's 
the  Sicknesses.    .    .    . 
Tyltyl   (with  the  key  in  the  lock.) 
Must  I  be  careful  in  opening?  .    .    . 

Night 
No,  it  is  not  worth  while.  .  .  .  They 
are  very  quiet,  the  poor  little  things. 
.  .  .  They  are  not  happy.  .  .  .  Man, 
for  some  time,  has  been  waging  such 
a  determined  war  upon  them !  .  .  . 
Especially  since  the  discovery  of  the 
microbes.  .  .  .  Open,  you  will 
see.  .    .    . 

(Tyltyl  opens  the  door  quite 
wide.     Nothing  appears.) 
Tyltyl 
Don't  they  come  out? 

Night 
I  told  you  they  are  almost  all  poorly  and 
very  much  discouraged.  .  .  .  The 
doctors  are  so  unkind  to  them.  .  .  . 
Go  in  for  a  moment  and  see  for  your- 
self. .   .    . 

104 


The  Blue  Bird 

(Tyltyl  enters  the  cavern 
and  comes  out  again  im- 
mediately.) 

Tyltyl 

The  Blue  Bird  is  not  there.  .  .  .  They  look 
very  ill,  those  Sicknesses  of  yours.  .  .  . 
They  did  not  even  lift  their  heads. 
.  .  .  {One  little  Sickness  in  slippers,  a 
dressing-gown  and  a  cotton  nightcap 
escapes  from  the  cavern  and  begins  to 
frisk  about  the  hall.)  Look!  .  .  . 
There's  a  little  one  escaping.  .  .  . 
Which  one  is  it?  .    .    . 

Night 
It's  nothing,  one  of  the  smallest;  it's  Cold- 
in-the-Head.  .  .  .  It  is  one  of  those 
which  are  least  persecuted  and  which 
enjoy  the  best  health.  .  .  .  (Calling 
to  Cold-in-the-Head)  Come  here, 
dear.  .  .  .  It's  too  soon  yet ;  you  must 
wait  for  the  winter.  .  .  .  (Cold-in- 
THE-Head,  sneezing,  coughing  and 
blowing  its  nose,  returns  to  the  cavern 
and  Tyltyl  shuts  the  door.) 
105 


The  Blue  Bird 

Tyltyl   (going  to  the  next  door) 
Let  us  look  at  this  one.  .    .    .  What  is  in 
here?  .   .   . 

Night 
Take  care !  .  .  .  It  is  the  Wars.  .  .  . 
They  are  more  terrible  and  powerful 
than  ever.  .  .  .  Heaven  knows  what 
would  happen  if  one  of  them  escaped! 
.  .  .  Fortunately,  they  are  rather 
heavy  and  slow-moving.  .  .  .  But  we 
must  stand  ready  to  push  back  the 
door,  all  of  us  together,  while  you 
take  a  rapid  glance  into  the 
cavern.    .    .    . 

(Tyltyl,  with  a  thousand  pre- 
cautions, opens  the  door 
ajar  so  that  there  is  only  a 
little  gap  to  which  he  can 
put  his  eye.  He  at  once 
doubles  his  back  against  the 
door,  shouting.) 

Tyltyl 

Quick!     Quick!   .    .    .  Push  with  all  your 
might!    .    .    .    They  have  seen  me! 
106 


The  Blue  Bird 

.  .  .  They  are  all  coming !  .  .  .  They 
are  breaking  down  the  door!  .  .  . 
Night 
Come,  all  together !  .  .  .  Push  hard!  .  .  . 
Bread,  what  are  you  doing?  .  .  . 
Push,  all  of  you!  .  .  .  How  strong 
they  are!  .  .  .  Ah,  that's  it!  .  .  . 
They  are  giving  way!  ...  It  was 
high  time!  .  .  .  Did  you  see 
them?  .  .  . 

Tyltyl 
Yes,  yes !  .    .    .  They  are  huge  and  awful ! 
...  I  don't  think  that  they  have  the 
Blue  Bird.  .   .   . 

Night 
You  may  be  sure  they  haven't.  ...  If  they 
had,  they  would  eat  him  at  once.  .  .  . 
Well,  have  you  had  enough  of  it? 
.  .  .  You  see  there  is  nothing  to  be 
done.  .    .    . 

Tyltyl 
I  must  see  everything.    .    .    .    Light  said 
so.  .   .   . 

Night 
Light  said  so !  .    .    .   It's  an  easy  thing  to 

107 


The  Blue   Bird 

say  when   one's   afraid  and  stays  at 
home.   .    .    . 

Tyltyl 
Let  us  go  to  the  next.   .    .    .  What  is  in 
here?   .    .    . 

Night 
This  is  where  I  lock  up  the  Shades  and  the 
Terrors.  .    .    . 

Tyltyl 
Can  I  open  the  door?  .    .    . 

Night 
Certainly.    .    .    .    They  are  pretty  quiet; 

they  are  like  the  Sicknesses.  .    .    . 
Tyltyl    {half -opening  the  door,   with  a 
certain  mistrustfulness }  and  taking  a 
look  into  the  cavern) 
Are  they  not  there?  .    .    . 
Night    {looking  into   the  cavern   in   her 

turn) 
Well,  Shades,  what  are  you  doing?  .  .  . 
Come  out  for  a  moment  and  stretch 
your  legs;  it  will  do  you  good.  .  .  . 
And  the  Terrors  also.  .  .  .  There  is 
nothing  to  be  afraid  of.  .  .  .  {A  few 
Shades  and  a  few  Terrors,  in  the 
108 


The  Blue  Bird 

shape  of  women,  shrouded,  the  former 
in  black  veils  and  the  latter  in  green- 
ish veils,  piteously  venture  to  take  a 
few  steps  outside  the  cavern;  and 
then,  upon  a  movement  of  Tyltyl's, 
hastily  run  back  again.)  Come,  don't 
be  afraid.  .  .  .  It's  only  a  child;  he 
won't  hurt  you.  .  .  .  (To  Tyltyl) 
They  have  become  extremely  timid, 
except  the  great  ones,  those  whom  you 
see  at  the  back.  .   .   . 

Tyltyl    (looking  into  the  depths  of  the 

cave) 

Oh,  how  terrifying  they  are !  .    .   . 
Night 

They  are  chained  up.   .    .    .  They  are  the 
only  ones  that  are  not  afraid  of  Man. 
.    .    .    But  shut  the  door,   lest  they 
should  grow  angry.  .    .    . 
Tyltyl  (going  to  the  next  door) 

I  say!   .    .    .  This  is  a  darker  one.   .    .    . 
What  is  here? 

Night 

There  are  several  Mysteries  behind  this 
one.  ...  If  you  are  absolutely  bent 
109 


The  Blue  Bird 

upon  it,  you  may  open  it  too.  .  .  . 
But  don't  go  in.  .  .  .  Be  very  cautious 
and  let  us  get  ready  to  push  back  the 
door,  as  we  did  with  the  Wars.  .    .    . 

Tyltyl  {half -opening  the  door;  zvith  un- 
paralleled precautions  and  passing  his 
head  fearsomely  through  the  aper- 
ture) 

Oh !  .  .  .  How  cold !  .  .  .  My  eyes  are 
smarting !  .  .  .  Shut  it  quickly !  .  .  . 
Push,  oh,  push!  They  are  pushing 
against  us !  .  .  .  (Night,  the  Dog, 
the  Cat  and  Sugar  push  back  the 
door.)  Oh,  I  saw!  .  .  . 
Night 

What?  .    .    . 

Tyltyl  {upset) 

I  don't  know,  it  was  awful!  .  .  .  They 
were  all  seated  like  monsters  with- 
out eyes.  .  .  .  Who  was  the  giant 
who  tried  to  seize  me?  .    .    . 

Night 
It  was  probably  Silence;  he  has  charge  of 
this  door.    ...    It  appears  to  have 
*io 


The   Blue  Bird 

been  alarming?   .    .    .   You  are  quite 
pale  still  and  trembling  all  over.  .   .   . 

Tyltyl 
Yes,  I  would  never  have  believed.   ...   I 
had  never  seen.  .    .    .  And  my  hands 
are  frozen.  .    .    . 

Night 
It     will     be     worse     presently     if     you 
go  on.   .    .    . 

Tyltyl  (going  to  the  next  door) 
And    this    one?    ...     Is    this    terrible 
also?  .    .    . 

Night 
No;  there  is  a  little  of  everything  here. 
.  .  .  It  is  where  I  keep  the  unem- 
ployed Stars,  my  personal  Perfumes, 
a  few  Glimmers  that  belong  to  me, 
such  as  Will-o'-the-Wisps,  Glow- 
worms and  Fireflies,  also  the  Dew,  the 
Song  of  the  Nightingales  and  so 
on.  .   .   . 

Tyltyl 

Just  so,  the  Stars,  the  Song  of  the  Nightin- 
gales. .  .  .  This  must  be  the  door. .  . . 
1 1 1 


The  Blue  Bird 
Night 

Open  it,  if  you  like;  there  is  nothing  very 
bad  inside.  .    .    . 

(Tyltyl  throws  the  door  wide 
open.  The  Stars,  in  the 
shape  of  beautiful  young 
girls  veiled  in  many-col- 
oured radiancy,  escape 
from  their  prison,  disperse 
over  the  hall  and  form 
graceful  groups  on  the 
steps  and  around  the 
columns,  bathed  in  a  sort  of 
luminous  penumbra.  The 
Perfumes  of  the  Night, 
who  are  almost  invisible,  the 
Will-o'-the-Wisps,  the 
Fireflies  and  the  trans* 
parent  Dew  join  them, 
while  the  Song  OF  THE 
Nightingales  streams 
from  the  cavern  and 
floods  the  Palace  of 
Night.) 
112 


The  Blue  Bird 

Mytyl  (clapping  her  hands  with  delight) 
Oh,  what  pretty  ladies !  .   .  . 

Tyltyl 
And  how  well  they  dance !  .  .  . 

Mytyl 
And  how  sweet  they  smell !  .   .   . 

Tyltyl 
And  how  beautifully  they  sing!  .   .    . 

Mytyl 
What   are    those,    whom   one    can   hardly 
see?  .   .   . 

Night 
Those  are  the  Perfumes  of  my  Shadow. 

Tyltyl 
And    those    others,    over    there,    in    spun 
glass?  .    .    . 

Night 
They  are  the  Dew  of  the  plains  and  forests. 
.  .  .  But  enough !  .  .  .  They  would 
never  have  done.  .  .  .  It  is  the  devil's 
own  business  to  get  them  back,  once 
they  begin  to  dance.  .  .  .  (Clapping 
her  hands  together.)  Now  then, 
Stars,  quick !  .  .  .  This  is  not  the  time 

"3 


The  Blue  Bird 

for  dancing.  .  .  .  The  sky  is  overcast 
and  heavily  clouded.  .  .  .  Come, 
quick,  in  with  you,  or  I  will  go  and 
fetch  a  ray  of  sunlight !  .  .  .  ( The 
Stars,  Perfumes,  etc.,  take  to  flight 
in  dismay  and  rush  back  into  the  cav- 
ern; and  the  door  is  closed  upon  them. 
At  the  same  timet  the  song  of  the 
Nightingale  ceases.) 
Tyltyl  {going  to  the  door  at  the  back) 
Here  is  the  great  middle  door.  .    .    . 

Night  {gravely) 
Do  not  open  that  one.  .   .   . 

Tyltyl 
Why  not  ?  .   .    . 

Night 
Because  it's  not  allowed.  .    .   . 

Tyltyl 
Then  it's  here  that  the  Blue  Bird  is  hidden; 
Light  told  me  so.  .    .    . 
Night  {maternally) 
Listen  to  me,  child.  ...  I  have  been  kind 
and  indulgent.  ...  I  have  done  for 
you  what  I  have  never  done  for  any 
one  before.  ...  I  have  given  up  all 
jt4 


The  Blue  Bird 

my  secrets  to  you.  ...  I  like  you,  I 
feel  pity  for  your  youth  and  innocence 
and  I  am  speaking  to  you  as  a 
mother.  .  .  .  Listen  to  me,  my  child, 
and  believe  me ;  relinquish  your  quest, 
go  no  further,  do  not  tempt  fate,  do 
not  open  that  door.  .  .  . 
Tyltyl  (a  little  shaken) 

But  why?  .    .    . 

Night 

Because  I  do  not  wish  you  to  be  lost.  .  .  . 
Because  not  one  of  those,  do  you  hear, 
not  one  of  those  who  have  opened  it, 
were  it  but  by  a  hair's  breadth,  has 
ever  returned  ahVe  to  the  light  of 
day.  .  .  .  Because  every  awful  thing 
imaginable,  because  all  the  terrors,  all 
the  horrors  of  which  men  speak  on 
earth  are  as  nothing  compared  with  the 
most  harmless  of  those  which  assail 
a  man  from  the  moment  when  his  eye 
lights  upon  the  first  threats  of  the 
abyss  to  which  no  one  dares  give  a 
name.  ...  So  much  so  that  I  myself, 
if  you  are  bent,  in  spite  of  everything, 
1*5 


The  Blue   Bird 

upon  touching  that  door,  will  ask  you 
to  wait  until  I  have  sought  safety  in 
my  windowless  tower.  .  .  .  Now  it  is 
for  you  to  know,  for  you  to  re- 
flect. .    .    . 

(Mytyl,  all  in  tears,  utters  cries 
of    inarticulate    terror    and 
tries      to      drag      Tyltyl 
away.) 
Bread  {with  chattering  teeth) 
Don't  do  it,  master  dear!   .    .    .    {Flinging 
himself  on  his  knees)    Take  pity  on 
us!  .   .    .1  implore  you  on  my  knees. 
.  .  .  You  see  that  Night  is  right.  .  .  . 
The  Cat 
You    are    sacrificing    the    lives    of    all    of 
us.   .    .    . 

Tyltyl 
I  must  open  the  door.  .    .    . 
Mytyl  {stamping  her  feet,  amid  her  sobs) 
I  won't !  .    .    .  I  sha'n't !  .   .    . 

Tyltyl 
Sugar  and  Bread,  take  Mytyl  by  the  hand 
and  run  away  with  her.    ...   I  am 
going  to  open  the  door.  .    .   . 
116 


The  Blue  Bird 

Night 
Run    for   your    lives!    .    .    .   Come    quick- 
ly! .   .   .  It  is  time!  .   .   .   {She  flees.) 
Bread  (fleeing  wildly) 
At  least  wait  till  we  are  at  the  end  of  the 
hall!  .   .   . 

The  Cat  (also  fleeing) 
Wait!     Wait!  .    .    . 

( They  hide  behind  the  columns 
at  the  other  end  of  the  hall. 
Tyltyl  remains  alone  with 
the  Dog  by  the  monumental 
door.) 
The  Dog  (panting  and  hiccoughing  with 

suppressed  fright) 
I  shall  stay,  I  shall  stay!    .    .    .   I'm  not 
afraid!    ...    I  shall  stay!    ...    I 
shall  stay  with  my  little  god !  .    .    .  I 
shall  stay !  .   .   .  I  shall  stay !  .   .   . 
Tyltyl  (patting  the  Dog) 
That's  right,  Tylo,  that's  right!  .   .   .  Kiss 
me.   .    .    .  You  and  I  are  two.   .    .    . 
And  now,  steady !  .  .  . 

(He  places  the  key  in  the  lock. 
A  cry  of  alarm  comes  from 
117 


The  Blue   Bird 

the  other  end  of  the  hall, 
where  the  runaways  have 
taken  refuge.  The  key  has 
hardly  touched  the  door 
before  its  tall  and  wide 
leaves  open  in  the  mid- 
dle, glide  apart  and  disap- 
pear on  either  side  in  the 
thickness  of  the  walls,  sud- 
denly revealing  the  most  un- 
expected of  gardens,  un- 
real, infinite  and  ineffable,  a 
dream-garden  bathed  in 
nocturnal  light,  where, 
among  stars  and  planets,  il- 
lumining all  that  they  touch, 
flying  ceaselessly  from  jewel 
to  jewel  and  from  moon- 
beam to  moonbeam,  fairy- 
like blue  birds  hover  per- 
petually and  harmoniously 
down  to  the  confines  of  the 
horizon,  birds  innumerable 
to  the  point  of  appearing 
to  be  the  breath,  the  azured 
118 


The   Blue   Bird 

atmosphere,  the  very  sub- 
stance of  the  wonderful  gar- 
den.) 

Tyltyl  {dazzled,  bewildered,  standing  in 
the  light  of  the  garden) 

Oh !  .  .  .  Heaven !  .  .  .  ( Turning  to  those 
who  have  fled)  Come  quickly  !  .  .  . 
They  are  here!  .  .  .  It's  they,  it's 
they,  it's  they !  .  .  .  We  have  them  at 
last!  .  .  .  Thousands  of  blue  birds! 
.  .  .  Millions!  .  .  .  Thousands  of 
millions!  .  .  .  There  will  be  too 
many!  .  .  .  Come,  Mytyl!  .  .  . 
Come,  Tylo!  .  .  .  Come,  all!  .  .  . 
Help  me!  .  .  .  {Darting  in  among 
the  birds.)  You  can  catch  them  by 
handfuls!  .  .  .  They  are  not  shy! 
.  .  .  They  are  not  afraid  of  us!  .  .  . 
Here !  Here !  .  .  .  (  Mytyl  and  the 
others  run  up.  They  all  enter  the 
dazzling  garden,  except  NlGHT  and 
the  Cat.)  You  see!  .  .  .  There  are 
too  many  of  them!  .  .  .  They  fly 
into  my  hands !  .  .  .  Look,  they  are 
eating  the  moonbeams!  .  .  .  Mytyl, 
119 


The  Blue  Bird 

where  are  you?   .    .    .   There  are  so 
many  blue   wings,   so   many   feathers 
falling  that  one  cannot  see  anything 
for    them!    .    .    .    Don't    bite    them, 
Tylo!   .    .    .  Don't  hurt  them!   .    .    . 
Take  them  very  gently !  .    .    . 
Mytyl   (covered  with  blue  birds) 
I  have  caught  seven  already!    .    .    .   Oh, 
how  they  flap  their  wings!    ...    I 
can't  hold  them !   .    .    . 
Tyltyl 
Nor  can   I !  .   .   .1    have    too    many    of 
them!   .    .    .  They're  escaping!  .    .    . 
They're  coming  back!  .   .    .  Tylo  has 
some,  too!   .    .    .  They  will  drag  us 
with  them !  .   .   .  They  will  take  us  up 
to  the  sky!    .    .    .   Quick,  let  us  go 
out  this  way!   .    .    .  Light  is  waiting 
for  us!   .    .    .   How  pleased  she  will 
be!   .    .    . 
This  way,  this  way !  .    .   . 

( They  escape  from  the  garden, 

with    their    hands    full    of 

struggling  birds f  and,  cross- 

ing  the  whole  hall  amid  the 

120 


The  Blue  Bird 

mad  whirl  of  the  azure 
wings,  go  out  on  the  right, 
where  they  first  entered,  fol- 
lowed by  Bread  and  Sugar, 
who  have  caught  no  birds. 
Night  and  the  Cat,  left 
alone,  return  to  the  back  of 
the  stage  and  look  anxiously 
into  the  garden.) 
Night 
Haven't  they  got  him?  .   .   . 

The  Cat 
No.  .    .    .  I  see  him  there,  on  that  moon- 
beam. .   .  .  They  could  not  reach  him, 
he  kept  too  high.  .   .   . 

{The  curtain  falls.  Immedi- 
ately after,  before  the 
dropped  curtain,  Enter, 
at  the  same  time,  on  the 
left,  Light  and,  on  the 
right,  TYLTYL,  Mytyl  and 
the  Dog,  who  run  up  all 
covered  by  the  birds  which 
they  have  captured.  But 
already  the  birds  appear 
121 


The  Blue  Bird 

lifeless  and,  with  hanging 
heads  and  drooping  wings, 
are  nothing  more  in  their 
hands  than  inert  remains.} 

Light 
Well,  have  you  caught  him?  .   .   . 

Tyltyl 
Yes,  yes !  ...  As  many  as  we  wanted  I  .  .  „ 
There  are  thousands  of  them!  .  .  . 
Here  they  are !  .  .  .  Do  you  see 
them?  .  .  .  (Looking  at  the  birds, 
which  he  holds  out  to  Light,  and 
perceiving  that  they  are  dead)  Why, 
they  are  dead !  .  .  .  What  have  they 
done  to  them?  .  .  .  Yours,  too, 
Mytyl?  .  .  .  Tylo'salso?  .  .  .  (An- 
grily flinging  down  the  dead  bodies  of 
the  birds)  Oh,  this  is  too  bad?  .  .  . 
Who  killed  them  ?  .  .  .  I  am  too  un- 
happy! .  .  .  (He  hides  his  head  in 
his  arms  and  his  whole  frame  is  shaken 
with  sobs.) 

Light  (pressing  him  maternally  in  her 
arms) 

129 


The  Blue  Bird 

Do  not  cry,  my  child.  .  .  .  You  did  not 
catch  the  one  that  is  able  to  live  in 
broad  daylight.  .  .  .  He  has  gone 
elsewhere.  .  .  .  We  shall  find  him 
again.  .  .  . 
The  Dog  (looking  at  the  dead  birds) 
Are  they  good  to  eat  ?  .    .    . 

(  They  all  go  out  on  the  left.) 

Scene  2. — The  Forest 

A  forest.  It  is  night.  The  moon  is  shin- 
ing. Old  trees  of  various  kinds,  nota- 
bly an  Oak,  a  Beech,  an  Elm,  a 
Poplar,  a  Fir-tree,  a  Cypress,  a 
Lime-tree,  a  Chestnut-tree,  etc. 

Enter  the  Cat. 

The  Cat  (bowing  to  the  trees  in  turn) 
To  all  the  trees  here  present,  greeting !  .  .  . 
The  Trees  (murmuring  in  their  leaves) 
Greeting!  .   .   . 

The  Cat 
This  is  a  great  day,  a  day  of  days!   .    .    . 
Our  enemy  is  coming  to  set  free  your 
127 


The  Blue  Bird 

energies  and  to  deliver  himself  into 
your  hands.  .  .  .  It  is  Tyltyl,  the  son 
of  the  wood-cutter,  who  has  done  you 
so  much  harm.  .  .  .  He  is  seeking 
the  Blue  Bird,  whom  you  have  kept 
hidden  from  Man  since  the  beginning 
of  the  world  and  who  alone  knows 
our  secret.  .  .  .  {A  murmuring  in  the 
leaves.)  What  do  you  say?  .  .  .  Ah, 
it's  the  Poplar!  .  .  .  Yes,  he  pos- 
sesses a  diamond  which  has  the 
virtue  of  setting  free  our  spirits  for 
a  moment;  he  can  compel  us  to  hand 
over  the  Blue  Bird  and  thenceforth 
we  shall  be  definitely  at  Man's  mercy. 
.  .  .  {A  murmuring  in  the  leaves.) 
Who  is  speaking?  .  .  .  Ah,  the 
Oak!  .  .  .  How  are  you?  .  .  .  (A 
murmuring  in  the  leaves  of  the  Oak.) 
Still  got  your  cold?  .  .  .  Does  the 
Liquorice  no  longer  look  after  you? 
.  .  .  Can't  you  throw  off  your  rheu- 
matism? .  .  .  Believe  me,  that's  be- 
cause of  the  moss;  you  put  too  much 
N>f  it  on  your  feet.  ...  Is  the  Blue 

124 


The  Blue  Bird 

Bird  still  with  you  ?  .   .   .   {A  murmur- 
ing in  the  leaves  of  the  Oak.)     I  beg 
your  pardon?  .    .    .  Yes,  there  is  no 
room  for  hesitation ;  we  must  take  the 
opportunity;    he  must  he  done  away 
with.   .    .    .    {A     murmuring    in     the 
leaves.)  I  didn't  quite  catch.  .   .   .  Oh, 
yes,  he   is  with   his  little  sister;    she 
must  die,  too.  .   .   .   (A  murmuring  in 
the  leaves.)     Yes,  they  have  the  Dog 
with  them;    there  is  no  keeping  him 
away.    .    .    .    (A   murmuring  in   the 
leaves.)      What  did  you  say?   .    .    . 
Bribe  him?  .    .    .  Impossible.  ...  I 
have  tried  everything.   .    .    .    (A  mur* 
muring  in  the  leaves.)  Ah,  is  that  you, 
Fir-Tree  ?  .    .    .  Yes,  get  four  planks 
ready.   .    .    .  Yes,     there     are     Fire, 
Sugar,  Water  and  Bread  besides.  .   .   . 
They  are  all  with  us,  except  Bread, 
who  is  rather  doubtful.    .    .    .   Light 
alone  is  on  Man's  side;  but  she  won't 
come.    ...   I  made  the  children  be- 
lieve that  they  ought  to  steal   away 
while    she    was    asleep.  .    .    .  There 
12c 


The  Blue  Bird 

never  was  such  an  opportunity.  .  .  . 
{A  murmuring  in  the  leaves.)  Ah, 
that's  the  Beech's  voice !  .  .  .  Yes, 
you  are  right;  we  must  inform  the 
animals.  .  .  .  Has  the  Rabbit  got  his 
drum?  .  .  .  Is  he  with  you?  .  .  . 
Good,  let  him  beat  the  troop  at 
once.  .   .   .  Here  they  are !  .   .   . 

( The  roll  of  the  Rabbit's  drum 
is  heard,  diminishing  in  the 
distance.     Enter    Tyltyl, 
Mytyl  and  the  Dog.) 
Tyltyl 
Is  this  the  place?  .   .   . 
The   Cat    {obsequiously,  eagerly,   mealy- 
mouthed,  rushing  to  meet  the  Chil- 
dren) 
Ah,  there  you  are,  my  little  master!   .    .    . 
How  well  you  look  and  how  pretty, 
this  evening!  ...  I  went  before  you 
to  announce  your  arrival.  .    .    .  All  is 
going  well.     We  shall  have  the  Blue 
Bird  to-night,  I  am  sure.  ...  I  have 
just  sent  the  Rabbit  to  beat  the  troop 
in  order  to  convoke  the  principal  ani- 
126 


The  Blue   Bird 

mals  of  the  country.   .    .    .   You  can 
hear   them   already   among    the    foli- 
age.  .    .    .  Listen !   .    .    .  They  are  a 
little  shy  and  dare  not  come  near.  .   . 
(The  sounds  are   heard  of  different 
animals f   such   as   cows,   pigs,   horses, 
donkeys,    etc.      The    Cat,    aside,    to 
Tyltyl,  taking  him  apart)   But  why 
have  you  brought  the  Dog?   ...   I 
have  told  you  he  is  on  the  worst  terms 
with  everybody,  even  the  trees.   .    . 
I   fear  that  his  odious  presence  will 
spoil  everything.  .   .   . 

Tyltyl 
I  could  not  get  rid  of  him.  .    .    .    ( To  the 
Dog,  threatening  him)  Go  away,  you 
ugly  thing  I  .    .    . 

The  Dog 
Who?  .    .    .  I?  .    .    .  Why?  .    .    .  What 
have  I  done  ?  .    .    . 

Tyltyl 
I  tell  you,  go  away !  ...  We  don't  want 
you  here  and  there's  an  end  of  it.  . 
You're  a  nuisance,  there !  . 

l2l 


The  Blue  Bird 

The  Dog 
I  shaVt  say  a  word.  ...  I  shall  follow 
you  at  a  distance.   .    .    .  They  sha'n't 
see  me.  .   .    .  Shall  I  beg?  .   .   . 
The  Cat  (aside,  to  Tyltyl) 
Do  you  allow  this  disobedience?  .    .    .  Hit 
him  on  the  nose  with  your  stick;   he  is 
really  unbearable !  .    .   . 

Tyltyl  (beating  the  Dog) 
There,    that  will   teach   you   to   be   more 
obedient!   .    .    . 

The  Dog  (yelling) 
Ow!  Ow!  Ow!  .  . 

Tyltyl 
What  do  you  say  ?  .   .   . 

The  Dog 
I  must  kiss  you  now  you've  beaten  me! 
.  .  .  (He  covers  Tyltyl  with  violent 
kisses  and  embraces.) 

Tyltyl 
Come.   .    .    .  That  will  do.   .    .    .  That's 
enough.  .   .   .  Go  away!  .    .    . 

Mytyl 
No,  no;    I  want  him  to  stay.   ...  I  am 

128 


The  Blue   Bird 

afraid  of  everything  when  he  is  not 
there.  .    .    . 
The  Dog  {leaping  up  and  almost  upsetting 
Mytyl,   whom   he  overwhelms  with 
hurried  and  enthusiastic  kisses) 
Oh,  the  dear  little  girl !  .    .   .  How  beauti- 
ful she  is !  .  .  .  How  good  she  is  I  .  .  . 
How  beautiful  she  is,  how  sweet  she 
is !  .    .    .1  must  kiss  her !  .    .    .  Once 
more,  once  more,  once  more !  .    .    . 
The  Cat 
What    an    idiot!  .    .    .  Well,     we    shall 
see !   .    .    .  Let  us  lose  no  time.  .    .    . 
Turn  the  diamond.  .    .    . 
Tyltyl 
Where  shall  I  stand  ?  .   .    . 
The  Cat 

In  this  moonbeam;  you  will  see  better.  . 
There,  turn  it  gently !  .   .   . 

(Tyltyl  turns  the  Diamond 
A  long-drawn-out  rustling 
shakes  the  leaves  and 
branches.  The  oldest  and 
most  stately  trunks  open  to 
make  way  for  the  soul  which 

I2Q 


The  Blue  Bird 

each  of  them  contains.  The 
appearance  of  these  souls 
differs  according  to  the  ap- 
pearance and  the  character 
of  the  trees  which  they  re- 
present. The  soul  of  the 
Elm,  for  instance,  is  a  sort 
of  pursy,  pot-bellied,  crabbed 
gnome;  the  Lime-tree  is 
placid,  familiar  and  jovial; 
the  Beech,  elegant  and 
agile;  the  Birch,  white,  re- 
served and  restless;  the 
Willow,  stunted,  dishev- 
elled and  plaintive;  the  FlR- 
TREE,  tall,  lean  and  taciturn; 
the  Cypress,  tragic;  the 
Chestnut-tree,  pre  ten* 
tious  and  rather  dandified; 
the  Poplar,  sprightly,  cum- 
bersome, talkative.  Some 
emerge  slowly  from  their 
trunks,  torpidly  stretching 
themselves,  as  though  they 
had  been  imprisoned  or 
130 


The  Blue  Bird 

asleep  for  ages;  others  leap 
out  actively,   eagerly;    and 
all  come  and  stand  in  a  circle 
round  the  two  Children, 
while    keeping    as    near    as 
they  can  to  the  tree  in  which 
they  were  born.) 
The  Poplar  {running  up  first  and  scream- 
ing at  the  top  of  his  voice) 
Men  ?  .   .    .  Little  men !  .    .   .  We  shall  be 
able  to  talk  to  them !  .  .  .  We've  done 
with  silence !  .  .   .  Done  with  it !  .   .  . 
Where  do  they  come  from  ?  .  .  .  Who 
are  they?  .   .   .  What  are  they?  .    .   . 
( To  the  Lime-tree,  who  comes  for- 
ward  quietly  smoking  his  pipe)    Do 
you     know      them,      Daddy      Lime- 
Tree?  .    .    . 

The  Lime-tree 
I    do    not    remember    ever    having    seen 
them.  .   .   . 

The  Poplar 
Oh,  yes,  you  must  have !   .    .    .  You  know 
all  the  men;  you're  always  hanging 
about  their  houses.  .   .   . 


The  Blue  Bird 

The  Lime-tree  {examining  the 
Children) 
No,    I    assure    you.   ...   I    don't    know 
them.  .    .    .  They  are  too  young  still. 
...  I  only  know  the  lovers  who  come 
to  see  me  by  moonlight  and  the  topers 
who     drink     their    beer     under    my 
branches.  .   .   . 
The  Chestnut-tree    (affectedly  adjust- 

ing  his  eyeglass) 
Who  are  these  ?  .   .   .  Are  they  poor  people 
from  the  country  ?  .   .   . 
The  Poplar 
Oh,  as  for  you,  Mr.  Chestnut-Tree,  ever 
since  you  have  refused  to  show  your- 
self except  in  the  streets  of  the  big 
towns  .    .    . 
The  Willow  (hobbling  along  in  a  pair  of 

wooden  shoes) 
Oh  dear,  oh  dear!   .    .    .  They  have  come 
to  cut  off  my  head  and  arms  again 
for  fagots!   .    .    . 

The  Poplar 
Silence !  .   .    .  Here  is  the  Oak  leaving  his 
palace !  .   .   .  He  looks  far  from  well 
132 


The  Blue  Bird 

this  evening.  .  .  .  Don't  you  think  ho 
is  growing  very  old?  .  .  .  What  can 
his  age  be?  .  .  .  The  Fir-tree  says 
he  is  four  thousand;  but  I  am  sure 
that  he  exaggerates.  .  .  .  Listen;  he 
will  tell  us  all  about  it.  .    .    . 

( The  Oak  comes  slowly  for- 
ward. He  is  fabulously  old, 
crowned  with  mistletoe  and 
clad  in  a  long  green  gown 
edged  with  moss  and  lichen. 
He  is  blind;  his  white  beard 
streams  in  the  wind.  He 
leans  with  one  hand  on  a 
knotty  stick  and  with  the 
other  on  a  young  Oakling, 
who  serves  as  his  guide. 
The  Blue  Bird  is  perched  on 
his  shoulder.  At  his  ap- 
proach, the  other  trees  draw 
themselves  up  in  a  row  and 
bow  respectfully.} 

Tyltyl 
He     has     the     Blue     Bird!   .    .    .  Quick! 

133 


The  Blue  Bird 

Quick!  .    .    .  Here!  .    .    .  Give  it  to 
me !   .    .    . 

The  Trees 
Silence !  .    .    . 

The  Cat  (to  Tyltyl) 
Take  off  your  hat,  it's  the  Oak !  .   .  ., 

The  Oak  (to  Tyltyl) 
Who  are  you  ?  .   .   . 

Tyltyl 
I  am  Tyltyl,  sir.  .   .  .  When  can  I  have  the 
Blue  Bird?  .  .   . 

The  Oak 
Tyltyl,  the  wood-cutter's  son  ?  .  .  . 

Tyltyl 
Yes,  sir.  .   .   . 

The  Oak 
Your  father  has  done  us  much  harm.  .  .  . 
In  my  family  alone,  he  has  put  to 
death  six  hundred  of  my  sons,  four 
hundred  and  seventy-five  uncles  and 
aunts,  twelve  hundred  cousins  of  both 
sexes,  three  hundred  and  eighty  daugh- 
ters-in-law, and  twelve  thousand  great* 
grandsons!  .   .    . 


The  Blue  Bird 

Tyltyl 
I  know  nothing  about  it,  sir.  ...  He  did 
not  do  it  on  purpose.  .   .   . 
The  Oak 
What  have  you  come  here  for;  and  why 
have  you  made  our  souls  leave  their 
abodes?  .    .    . 

Tyltyl 
I    beg    your    pardon,    sir,    for    disturbing 
you.   .    .    .  The    Cat    said    that    you 
would   tell  us   where   the   Blue   Bird 
was.  .   .    . 

The  Oak 
Yes,  I  know  that  you  are  looking  for  the 
Blue  Bird,  that  is  to  say,  the  great 
secret  of  things  and  of  happiness,  so 
that  Man  may  make  our  servitude  still 
harder.   .    .    . 

Tyltyl 
Oh,  no,  sir;    it  is  for  the  Fairy  Berylune's 

little  girl,  who  is  very  ill.  .    .    . 
The  Oak  {laying  silence  upon  him  with  a 

gesture) 
Enough!  ...  I    do   not   hear    the   Ani- 
mals. .  .  .  Where  are  they?  ...  All 
135 


The  Blue  Bird 

this  concerns  them  as  much  as  us.  .  .  . 
We,  the  Trees,  must  not  assume  the 
responsibility  alone  for  the  grave 
measures  that  have  become  neces- 
sary. .  .  .  On  the  day  when  Man 
hears  that  we  have  done  what  we  are 
about  to  do,  there  will  be  terrible  re- 
prisals. .  .  .  It  is  right,  therefore, 
that  our  agreement  should  be  unani- 
mous, so  that  our  silence  may  be  the 
same.  .   .    . 

The  Fir-tree  (looking  over  the  top  of  the 
other  trees) 

The  Animals  are  coming.  .  .  .  They  are 
following  the  Rabbit.  .  .  .  Here  are 
the  souls  of  the  Horse,  the  Bull,  the 
Ox,  the  Cow,  the  Wolf,  the  Sheep,  the 
Pig,  the  Cock,  the  Goat,  the  Ass,  and 
the  Bear.  .   .   . 

(Enter  the  souls  of  the  Animals,  who, 
as  the  Fir-tree  utters  their  names, 
come  forward  and  sit  down  among  the 
trees,  with  the  exception  of  the  soul  of 
the  Goat,  who  roams  to  and  frof  and 


The  Blue   Bird 

of  the  Pig,  who  snaffles  among  the 
roots.) 

The  Oak 

Are  all  here  present?  .    .   . 
The  Rabbit 

The  Hen  could  not  leave  her  eggs,  the 
Hare  is  out  on  a  run,  the  Stag  has  a 
pain  in  his  horns,  the  Fox  is  ill — here 
is  the  doctor's  certificate — the  Goose 
did  not  understand  and  the  Turkey 
flew  into  a  passion.  .  .  . 
The  Oak 

These  abstentions  are  most  regrettable.  .  .  . 
However,  we  have  a  quorum.  .  .  . 
You  know,  my  brothers,  the  nature  of 
our  business.  The  child  you  see  before 
you,  thanks  to  a  talisman  stolen  from 
the  powers  of  Earth,  is  able  to  take 
possession  of  the  Blue  Bird  and  thus 
to  snatch  from  us  the  secret  which  we 
have  kept  since  the  origin  of  life.  .  .  . 
Now  we  know  enough  of  Man  to  en- 
tertain no  doubt  as  to  the  fate  which 
he  reserves  for  us  once  he  is  in  posses- 
1-37 


The  Blue  Bird 

sion  of  this  secret.  That  is  why  it 
seems  to  me  that  any  hesitation  would 
be  both  foolish  and  criminal.  ...  It 
is  a  serious  moment;  the  child  must 
be  done  away  with  before  it  is  too 
late.  .   .   . 

Tyltyl 
What  is  he  saying?  .  .  . 
The  Dog  (prowling  round  the  Oak  and 

showing  his  fangs) 
Do  you  see  my  teeth,  you  old  cripple  ?  .   .   . 

The  Beech   (indignantly) 
He  is  insulting  the  Oak !  .   .   . 

The  Oak 
Is  that  the  Dog?  .  .  .  Drive  him  out  1    We 
must  suffer  no  traitors  among  us !  .  .  . 
The  Cat  (aside,  to  Tyltyl) 
Send  the  Dog  away.  .   .   .  It's  a  misunder- 
standing. .   .   .  Leave  it  to  me ;   I  will 
arrange  things.    .    .    .   But  send  him 
away  as  quick  as  you  can.  .   .   . 
Tyltyl  (to  the  Dog) 
Will  you  be  off !  .    .    . 

The  Dog 
Do  let  me  worry  the  gouty  old  beggar's 

138 


The  Blue  Bird 

moss  slippers !  ...  It  will  be  such  a 
joke  I  .  .  . 

Tyltyl  - 
Hold  your  tongue !   .    .    .  And  be  off  with 
you!  .  .  .  Be  off,  you  ugly  brute!  .  .  . 
The  Dog 
All  right,  all  right,  I'm  going.   .    .    .   I'll 
come  back  when  you  want  me.  .   .   . 
The  Cat  (aside,  to  Tyltyl) 
It  would  be  a  good  thing  to  chain  him  up, 
or  he   will   commit   some    folly;    the 
Trees  will  be  angry  and  all  will  end 
badly.  .    .   . 

Tyltyl 
What   can    I    do?  ...   I    have    lost   his 
leash.  .   .    . 

The  Cat 
Here's    the    Ivy  just   coming    along   with 
strong  bonds.  .   .   . 

The  Dog  (growling) 
I'll  come  back,  I'll  come  back !  .  .  .  Ugh ! 
Goutytoes!  Timbertoes!  .  .  .  Pack 
of  old  stunted  growths,  pack  of  old 
roots !  .  .  .  It's  the  Cat  who's  at  the 
bottom  of  all  this!  .  .  .  I'll  be  even 
139 


The  Blue  Bird 

with  him !  .  .  .  What  have  you  been 
whispering  about,  you  sneak,  you 
tiger,  you  Judas !  .  .  .  Wow,  wow, 
wow !  .   .   . 

The  Cat 
You  see,  he  insults  everybody.  .    .    . 

Tyltyl 

Yes,  he  is  unbearable  and  one  can't  hear 
one's  self  speak.  .  .  .  Mr.  Ivy,  will 
you  chain  him  up,  please?  .   .   . 

The  Ivy  (timorously  going  up  to  the 
Dog) 
Won't  he  bite?  .   .   . 

The  Dog  (growling) 

On  the  contrary,  on  the  contrary!    .    .    . 

He's  going  to  kiss  you !    .    .    .   Just 

wait  and  see !  .   .   .  Come  along,  come 

along,  you  old  ball  of  twine,  you  !  .  .  . 

Tyltyl  ( threatening  him  with  his  stick ) 
Tylo!  .    .   . 

The  Dog  (cringing  at  Tyltyl' s  feet  and 

wagging  his  tail) 
What  am  I  to  do,  my  little  god? 

140, 


The   Blue  Bird 

Tyltyl 
Lie  down  flat !  .    .    .  Obey  the  Ivy.  .    .   . 

Let  him  bind  you,  or.  .    .    . 
The    Dog    (growling   between   his   teeth, 
while  the  Ivy  binds  him) 

Ball  of  twine!   .    .    .  Hunk  of  yarn!  .    .    . 

Hangman's  rope !  .   .   .  Calves'  leash ! 

.   .   .  Look,  my  little  god !  .    .   .  He's 

cutting  my  paws !  .    .    .  He's  choking 

me !  .    .    . 

Tyltyl 
I  don't  care!  .   .   .  It's  your  own  fault.  .   .   . 

Hold  your  tongue;    be  quiet;    you're 

unbearable !  .    .    . 

The  Dog 
You're  wrong,   for  all  that.    .    .    .    They 
mean  mischief.   .    .    .  Take  care,  my 
little     god!   .    .    .  He's     closing     my 
mouth !  .    .    .  I  can't  speak !  .    .    . 

The  Ivy  (who  has  tied  up  the  Dog  like  a 
parcel) 

Where  shall  we  put  him?  .  .  .  I've  muz- 
zled him  finely.  .  .  .  He  can't  utter  a 
word.  .    .    . 

141 


The  Blue  Bird 

The  Oak 
Fasten  him  tight  down  there,  behind  my 
trunk,  to  my  big  root.   .    .    .  We  will 
decide  later  what  had  best  be   done 
with  him.  .   .   . 

( The  Ivy  and  the  Poplar  carry 
the  Dog  behind  the  Oak's 
trunk.) 
The  Oak 
Is  that  done  ?  .    .    .  Well,  now  that  we  are 
rid   of   this   inconvenient   witness,    of 
this  renegade,  let  us  deliberate  in  ac- 
cordance with  justice  and  truth.   .    .    . 
I  will  not  conceal  from  you  the  deep 
and  painful  nature  of  my  emotion.  .  .  . 
This  is  the  first  time  that  it  is  given 
to  us  to  judge  Man  and  make  him 
feel  our  power.   .    .    .  I  do  not  think 
that,  after  the  harm  which  he  has  done 
us,  after  the  monstrous  injustice  which 
we  have  suffered,  there  can  remain  the 
least   doubt  as   to   the   sentence   that 
awaits  him.  .   .    . 
All  the  Trees  and  All  the  Animals 
No!  No!  No!  .  .  .  No  doubt  at  all !  .  .  . 

142 


The   Blue  Bird 

Hanging!  .  .  .  Death!  .  .  .  The 
injustice  has  been  too  great!  .  .  . 
The  abuse  too  wicked!  ...  It  has 
lasted  too  long !  .  .  .  Crush  him!  .  .  . 
Eat  him !  ...  At  once !  .  .  .  Here 
and  now!   .    .    . 

Tyltyl  (to  the  Cat) 

What  is  the  matter  with  them?  .    .    .  Are 
they  displeased?  .    .   . 
The  Cat 

Don't  be  alarmed.  .  .  .  They  are  a  little 
annoyed  because  Spring  is  late.  .  .  . 
Leave  it  to  me;  I  will  settle  it 
all.  .    .   . 

The  Oak 

This  unanimity  was  inevitable.  .  .  .  We 
must  now  decide,  in  order  to  avoid 
reprisals,  which  form  of  execution  will 
be  the  most  practical,  the  easiest,  the 
quickest  and  the  safest,  which  will 
leave  the  fewest  accusing  traces  when 
Man  finds  the  little  bodies  in  the 
forest.  .    .    . 

Tyltyl 

What  is  all  this  about?   .    .    .  What  is  he 

H3 


The  Blue  Bird 

driving  at?  .  .  .1  am  getting  tired  of 
this.  .  .  .  He  has  got  the  Blue  Bird; 
let  him  hand  it  over.  .  .  . 
The  Bull  (coming  forward) 
The  most  practical  and  the  surest  way  is  a 
good  butt  with  the  horns  in  the  pit  of 
the  stomach.  .  .  .  Shall  I  go  at 
him?  .    .    . 

The  Oak 
Who  speaks?  .    .    . 

The  Cat 
It's  the  Bull. 

The  Cow 
It  would  be  better  to  keep  quiet.  ...  I 
won't  meddle  with  it.  ...  I  have  all 
the  grass  to  browse  in  the  field  which 
you  can  see  down  there  in  the  blue 
light  of  the  moon.  ...  I  have  quite 
enough  to  do.  .   .   . 

The  Ox 
I  also.   .    .    .   However,  I  agree  to  every- 
thing beforehand.  .    .    . 
The  Beech 
I  can  offer  my  highest  branch    to    hang 
them  on.  .    .    . 

144 


The  Blue  Bird 

The  Ivy 

And  I  the  slip-knot.  .    .    . 

The  Fir-tree 
And  I  the  four  planks  for  their  little  cof* 
fin.  .    .    . 

The  Cypress 
And  I  a  perpetual  grant  of  a  tomb.  .    .    » 

The  Willow 
The  simplest  way  would  be  to  drown  them 
in  one  of  my  rivers.   ...  I  will  take 
charge  of  that.  .   .   . 
The  Lime-tree  (in  a  conciliatory  tone) 
Come,  come.    .    .    .    Is  it  really  necessary 
to  go  to  such  extremities?  .    .    .  They 
are  very  young.  .    .    .  We  could  quite 
simply  prevent  them  from  doing  any 
harm  by  keeping  them  prisoners  in  an 
enclosure     which     I     will     undertake 
to     form     by     planting     myself     all 
around.  .    .    . 

The  Oak 
Who  speaks?  ...  I  seem  to  recognise  the 
honeyed  accents  of  the  Lime-tree.  .   .   . 
The  Fir-tree 
Yes,  it's  he.   .    .    . 

H5 


The  Blue  Bird 

The  Oak 
So  there  is  a  renegade  among  us,  as  among 
the  Animals  ?  .  .  .  Hitherto  we  have 
only  had  to  deplore  the  disloyalty  of 
the  Fruit-trees;  but  they  are  not  real 
trees.  .  .  . 
The  Pig   (rolling  his  small  eyes  glutton- 

ously) 
I    think    we    should    first    eat    the    little 
girl.   .    .    .  She  ought  to  be  very  ten- 
der. .   .    . 

Tyltyl 
What's  he  saying?  .    .    .  Just  wait  a  bit, 
you  .   .   . 

The  Cat 
I  don't  know  what  is  the  matter  with  them; 
but    things    are    beginning    to    look 
badly.  .   .   . 

The  Oak 
Silence  1  .  .  .  What  we  have  to  decide  is 
which  of  us  shall  have  the  honour  of 
striking  the  first  blow,  who  shall  ward 
off  from  our  tops  the  greatest  danger 
that  has  threatened  us  since  the  birth 
of  Man.  .   .   . 

146 


The  Blue  Bird 

The  Fir-tree 

That  honour  falls  to  you,  our  king  and  our 
patriarch.  .    .    . 

The  Oak 

Is  that  the  Fir-tree  speaking?  .  .  .  Alas, 
I  am  too  old  !  .  .  .  I  am  blind  and  in- 
firm and  my  numbed  arms  no  longer 
obey  me.  .  .  .  No,  to  you,  brother, 
ever  green,  ever  upright,  to  you,  who 
have  witnessed  the  birth  of  most  of 
these  trees,  to  you  be  the  glory,  in  de- 
fault of  myself,  of  the  noble  act  of  our 
deliverance.  .   .   . 

The  Fir-tree 

I  thank  you,  venerable  father.  .  .  .  But 
as  I  shall,  in  any  case,  have  the  honour 
of  burying  the  two  victims,  I  should  be 
afraid  of  arousing  the  just  jealousy  of 
my  colleagues;  and  I  think  that,  next 
to  ourselves,  the  oldest  and  the  worthi- 
est and  the  one  that  owns  the  best 
club  is  the  Beech.  .  .  . 
The  Beech 

You  know  I  am  worm-eaten  and  my  club  is 
no  longer  to  be  relied  upon.  .    .    .  But 


The  Blue  Bird 

the  Elm  and  the  Cypress  have  power- 
ful weapons.  .   .   . 

The  Elm 

I  should  be  only  too  pleased;    but  I  can 
hardly  stand  upright.    ...   A  mole 
twisted  my  great  toe  last  night.  .    .    . 
The  Cypress 

As  for  me,  I  am  ready.  .  .  .  But,  like  my 
brother,  the  Fir-tree,  I  shall  have,  if 
not  the  privilege  of  burying  them,  at 
least  the  advantage  of  weeping  over 
their  tomb.  ...  It  would  be  an  un- 
lawful plurality  of  offices.  .  .  .  Ask 
the  Poplar.   .    .    . 

The  Poplar 

Me?  .  .  .  Are  you  serious?  .  .  .  Why, 
my  wood  is  more  tender  than  the  flesh 
of  a  child!  .  .  .  And,  besides,  I  don't 
know  what's  the  matter  with  me.  .  .  . 
I  am  shivering  with  fever.  .  .  .  Just 
look  at  my  leaves.  ...  I  must  have 
caught  cold  at  sunrise  this  morn- 
ing. .    .    . 

The  Oak  (bursting  out  with  indignation) 

You  are  afraid  of  Man!  .    .    .  Even  those 

748 


The  Blue  Bird 

unprotected  and  unarmed  little  chil- 
dren inspire  you  with  the  mysterious 
terror  which  has  always  made  us  the 
slaves  that  we  are !  .  .  .  Enough  of 
this !  Things  being  as  they  are  and 
the  opportunity  unequalled,  I  shall  go 
forth  alone,  old,  crippled,  trembling, 
blind  as  I  am,  against  the  hereditary 
enemy!   .    .    .  Where  is  he?  .    .    . 

(Groping    with     his     stick,     he 
moves  towards  Tyityl.) 

Tyltyl  (taking  his  knife  from  his  pocket) 

Is  it  me  he's  after,  that  old  one,  with  his 
big  stick?  .    .    . 

All  the  Trees  (uttering  a  cry  of  alarm 
at  the  sight  of  the  knife,  they  step  in 
between  and  hold  back  the  Oak) 

The  knife!  .  .  .  Take  care!  .  .  .  The 
knife!  .    .    . 

The  Oak  (struggling) 

Let  me  be  !  .  .  .  What  does  it  matter?  .  .  . 
The  knife  or  the  axe !  .  .  .  Who's 
holding  me  back?  .  .  .  What!  Are 
you  all  here?  .  .  .  What!  You  all 
want  to.  .  .  .  (Flinging  down  bs4 
149 


The  Blue  Bird 

stick)  Well,  so  be  it!  .  .  .  Shame 
upon  us !  .  .  .  Let  the  Animals  de- 
liver us !  .   .   . 

The  Bull 

That's  right!  .  .  .  I'll  see  to  it!  .  .  .  And 
with  one  blow  of  the  horns !  .   .    . 

The  Ox  and  The  Cow  {holding  him  back 
by  the  tail) 

What  are  you  doing?  .  .  .  Don't  be  a 
fool !  .  .  .  It's  a  bad  business !  .  .  . 
It  will  end  badly.  .  .  .  It  is  we  who 
will  pay  for  it.  .  .  .  Do  let  be.  .  .  . 
It's  the  wild  animals'  business.  .    .   . 

The  Bull 

No,  no !  .  .  .  It's  my  business !  .  .  .  Wait 
and  see!  .  .  .  Look  here,  hold  me 
back  or  there  will  be  an  accident !  .   .  . 

Tyltyl  (to  Mytyl,  who  is  uttering  pierc- 
ing screams) 

Don't  be  afraid!  .  .  .  Stand  behind 
me.  ...  I  have  my  knife.  .   .   . 

The  Cock 

He  has  plenty  of  pluck,  the  little  chap!  .   .   . 

150 


The  Blue  Bird 

Tyltyl 

So  you've  made  up  your  minds,   it's  mc 
you're  going  for?  .    .    . 
The  Ass 
Why,  of  course,  my  little  man ;  you've  taken 
long  enough  to  see  it !  .   .   . 
The  Pig 
You  can  say  your  prayers;    your  last  hour 
has  come.    .    .    .   But  don't  hide  the 
little  girl.   ...   I  want  to  feast  my 
eyes  on  her.  .   .   .  I'm  going  to  eat  her 
first.  .   .   . 

Tyltyl 
What  have  I  done  to  you  ?  .    .    . 

The  Sheep 
Nothing  at  all,  my  little  man.  .    .    .  Eaten 
my  little  brother,  my  two  sisters,  my 
three  uncles,  my  aunt,  my  grandpapa 
and  my  grandmamma.    .    .    .    Wait, 
wait,  when  you're  down,  you  shall  see 
that  I  have  teeth  also.   .    .    . 
The  Ass 
And  I  hoofs!  .    .    . 

The  Horse  (haughtily  pazving  the 
ground) 

I5i 


The  Blue  Bird 

1t)u  shall  see  what  you  shall  see !    .    .    . 
Would  you  rather  that  I  tore  you  with 
my  teeth  or  knocked  you  down  with  a 
kick?  .    .    .    (He  moves  ostentatiously 
towards  Tyltyl,  who  faces  him  and 
raises  his  knife.    Suddenly  the  Horse; 
seized  with   panic,   turns   and  rushes 
away.)    Ah,  no !    .    .    .      That's  not 
fair!   .    .    .  That's  against  the  rules! 
.   .    .  He's  defending  himself !  .    .    . 
The  Cock  (unable  to  hide  his  admiration) 
I    don't    care,    the    little    chap's    full    of 
grit!  .   .   . 
The  Pig  (to  the  Bear  and  the  Wolf) 
Let  us  all  rush  on  them  together.  ...  I 
will  support  you  from  the  rear.  .    .    . 
We  will  throw  them  down  and  share 
the    little    girl   when    she    is    on    the 
ground.  .    .    . 

The  Wolf 
Divert  their  attention  in  front.  ...  I  am 
going  to  make  a  turning  movement.  .   .   . 
(He  goes  round  Tyltyl,  whom 
he  attacks  from  behind  and 
half  overthrows.) 
152 


The  Blue  Bird 

Tyltyl 
You  brute !  .  .   .  {He  raises  himself  on  one 
knee  brandishing  his  knife  and  doing 
his  best  to  cover  his  little  sister,  who 
utters  yells   of  distress.     Seeing  him 
half  overturned,  all  the  Animals  and 
Trees  come  up  and  try  to  hit  him. 
Tyltyl  calls  distractedly  for  assist- 
ance.)    Help!     Help!    .    .    .  Tylo! 
Tylo!  .    .    .  Where  is  the  Cat?  .   .    . 
Tylo!  .   .   .  Tylette!    Tylette!  .   .   . 
Come !    Come !  .   .  . 

The  Cat   {hypocritically,  holding  aloof) 
I  can't  come.    ...    I  have  sprained  my 
paw.   .    .    . 

Tyltyl  {warding  off  the  blows  and  de- 
fending himself  as  best  he  can) 

Help!  .  .  .Tylo!  Tylo!  ...  I  can't 
hold  out !  .  .  .  There  are  too  many  of 
them!  .  .  .  The  Bear!  The  Pig! 
The  Donkey!  The  Ass!  The  Fir- 
tree  !  The  Beech !  .  .  .  Tylo ! 
Tylo!    Tylo!  .   .  . 

{Dragging    his     broken     bonds 

153 


The   Blue  Bird 

after  him,  the  Dog  leaps 
from  behind  the  trunk  of 
the  Oak  and,  elbowing  his 
way  through  Trees  and 
Animals,  flings  himself 
before  Tyltyl,  whom  he 
defends  furiously.) 

The  Dog  {distributing  great  bites) 

Here!  Here,  my  little  god!  .  .  .  Don't 
be  afraid!  Have  at  them!  ...  I 
know  how  to  use  my  teeth !  .  .  . 
Here,  there's  one  for  you,  Bear,  in 
your  fat  hams !  .  .  .  Now  then,  who 
wants  some  more?  .  .  .  Here,  that's 
for  the  Pig  and  that's  for  the  Horse 
and  that's  for  the  Bull's  tail!  .  .  . 
There,  I've  torn  the  Beech's  trousers 
and  the  Oak's  petticoat!  .  .  .  The 
Fir-tree's  making  tracks !  .  .  .  Whew, 
it's  warm  work !  .   .   . 

Tyltyl  {overcome) 
I'm   done   for!    .    .     .    The   Cypress  has 
caught    me    a    great    blow    on    the 
head. .    .    . 


The  Blue  Bird 

The  Dog 
Ow !  .   .   .  That's  the  Willow !  .   .   .  He's 
broken  my  paw !  .   .   . 
Tyltyl 
They're    coming    back,    they're    charging 
down  upon  us,  all  together !  .  .  .  This 
time,  it's  the  Wolf!  .   .   . 
The  Dog 
Wait  till  I  give  him  one  for  himself!  .    .   . 

The  Wolf 
Fool !  .   .   .  Our  brother !  .   .    .  His  father 
drowned  your  seven  puppies  !  .   .   . 
The  Dog 
Quite  right !  .    .    .  And  a  good  thing  too ! 
...  It  was  because  they  looked  like 
you !   .    .    . 

All  the  Trees  and  Animals 
Renegade!  .   .  .  Idiot!  .  .  .  Traitor!  .  .  . 
Felon !  .    .   .  Simpleton !  .   .    .  Judas  1 
.    .    .  Leave  him !   .    .    .  He's  a  dead 
man !  .   .   .  Come  over  to  us !  .   .   . 
The  Dog  {drunk  with  ardour  and  devo- 
tion) 
Never!     Never!   ...  I  alone  against  all 
of  you !  .    .    .  Never!     Never!  .    .    . 


The  Blue  Bird 

True  to  the  gods,  to  the  best,  to  the 
greatest!  .  .  .  (To  Tyltyl)  Take 
care,  here's  the  Bear  I  .  .  .  Beware  of 
the  Bull !  .  .  .  I'll  jump  at  his  throat. 
.  .  .  Ow !  .  .  .  That's  a  kick.  .  .  . 
The  Ass  has  broken  two  of  my 
teeth.  .   .    . 

Tyltyl 

I'm  done  for,  Tylo !  .   .   .  Ah !  .   .   .  That 
was  a  blow  from  the  Elm.  .   .   .  Look, 
my  hand's  bleeding.  .    .    .  That's  the 
Wolf  or  the  Pig.   .    .    . 
The  Dog 

Wait,  my  little  god.  .  .  .  Let  me  kiss  you. 
.  .  .  There,  a  good  lick.  .  .  .  That 
will  do  you  good.  .  .  .  Keep  behind 
me.  .  .  .  They  dare  not  come  again. 
.  .  .  Yes,  though.  .  .  .  Here  they 
are  coming  back !  .  .  .  This  time,  it's 
serious  I  .  .  .  We  must  stand  firm !  .  .  . 
Tyltyl  (dropping  to  the  ground) 

No,  I  can  hold  out  no  longer !  .    .    . 
The  Dog   (listening) 

They  are  coming !  .  .   .  I  hear  them,  I  scent 
them!  .   .   . 

156 


The  Blue   Bird 

Tyltyl 
Where?  .    .   .  Who?  .   .   . 
The  Dog 
There!  There!  .   .   .  It's  Light!  .   .   .  She 
has  found  us !   .    .    .   Saved,  my  little 
king !   .    .    .   Kiss  me !   .    .    .  We  are 
saved !    .    .    .    Look !    .    .    .    They're 
alarmed!    .    .    .     They're  retreating! 
.    .    .  They're  afraid!   .    .    . 
Tyltyl 
Light !    .    .    .   Light !    .    .    .    Come  quick ! 
.    .    .    Hurry!    .    .    .   They  have  re- 
belled!   .     .    .    They  are   all  against 
us !  .  .  . 

Enter  Light.  As  she  comes  forward, 
the  dawn  rises  over  the  forest,  which 
becomes  light. 

Light 

What  is  it?  .  .  .  What  has  happened? 
.  .  .  But,  my  poor  boy,  didn't  you 
know?  .  .  .  Turn  the  diamond !  .  .  . 
They  will  return  into  silence  and  ob- 
scurity; and  you  will  no  longer  per- 
ceive their  hidden  feelings.  .    .    . 

157 


The  Blue  Bird 

(TYLTYL     turns     the     diamond. 
Immediately,    the    souls    of 
all  the  Trees  rush  back  into 
the     trunks,     which     close 
again.      The   souls    of    the 
Animals    also    disappear; 
and   a   peaceful    Cow    and 
Sheep,  etc.,  are  seen  brows- 
ing   in    the   distance.      The 
Forest     becomes     harmless 
once  more.     Tyltyl  looks 
around  him  in  amazement.) 
Tyltyl 
Where  are  they?  .   .    .  What  was  the  mat- 
ter  with    them?    .     .     .    Were    they 
mad?  .   .   . 

Light 

No,  they  are  always  like  that;  but  we  do  not 

know  it  because  we  do  not  see  it.  .   .   . 

I  told  you  so  before;  it  is  dangerous  to 

wake  them  when  I  am  not  there.  .   .   . 

Tyltyl  {wiping  his  knife) 

Well,  but  for  the  Dog  and  if  I  had  not  had 

my  knife!   ...   I  would  never  have 

believed  that  they  were  so  wicked !  .  . . 

i58 


The  Blue  Bird 

Light 
You  see  that  Man  is  all  alone  against  all 
in  this  world.  .    .    . 

The  Dog 
Are  you  very  badly  hurt,  my  little  god?  .  .  . 

Tyltyl 
Nothing  serious.  ...  As  for  Mytyl,  they 
have  not  touched  her.  .  .  .  But  you, 
my  dear  Tylo?  .  .  .  Your  mouth  is 
all  over  blood  and  your  paw  is 
broken!   .    .    . 

The  Dog 
It  is  not  worth  speaking  of.  .    .    .  It  won't 
show  to-morrow.   .    .    .   But  it  was  a 
tough  fight !  .   .   . 

The  Cat  {appearing  from  behind  a 
thicket ;  limping) 
I  should  think  so !  .  .  .  The  Ox  caught  me 
a  blow  with  his  horns  in  the  stomach. 
.  .  .  You  can't  see  the  marks,  but  it's 
very  painful.  .  .  .  And  the  Oak  broke 
my  paw.  .    .    . 

The  Dog 
I  should  like  to  know  which  one.  .  .  ., 

*59 


The  Blue  Bird 

MYTYL  (stroking  the  Cat) 
My  poor  Tylette,    did  he   really?    .     .     . 
Where  were  you  ?  .    .    .  I  did  not  see 
you.  .    .    . 

The  Cat    (hypocritically) 
Mummy  dear,  I  was  wounded  at  the  first, 
while  attacking  that  horrid  Pig,  who 
wanted  to  eat  you.  .   .   .  And  then  the 
Oak    gave    me    a    great   blow   which 
struck  me  senseless.  .   .   . 
The  Dog  (to  the  Cat,  between  his  teeth) 
As  for  you,  I  want  a  word  with  you  pres- 
ently. ...  It  will  keep !  .    .    . 
The  Cat   (plaintively,  to  Mytyl) 
Mummy  dear,  he's  insulting  me.  .    .    .  He 
wants  to  hurt  me.   .    .    . 
Mytyl  (to  the  Dog) 
Leave    him    alone,    will    you,    you    uglj 
beast?  .    .    . 

( They  all  go  out.) 

CURTAIN 


160 


The  Blue  Bird 


Act  IV 

Scene  i. — Before  the  Curtain 
The  curtain  represents  beautiful  clouds 

{Enter  Tyltyl,  Mytyl,  Light,  the  Dog, 
the    Cat,     Bread,     Fire,    Sugar, 
Water  and  Milk.) 
Light 

I  believe  we  have  the  Blue  Bird  this  time. 
I  ought  to  have  thought  of  it  before. 
But  the  idea  came  to  me,  like  a  ray 
from  the  sky,  this  morning  only,  when 
I  recovered  my  strength  in  the  dawn. 
.  .  .  We  are  at  the  entrance  to 
the  enchanted  palaces  where  all  men's 
Joys,  all  men's  Happinesses  are  gath- 
ered together  in  the  charge  of  Fate. 
Tyltyl 

Are  there  many  of  them?     Shall  we  have 
any?    Are  they  little? 
Light 

Some  are  little  and  some  are  great;  some 

161 


The  Blue  Bird 

are  coarse  and  some  are  delicate;  some 
are  very  beautiful  and  others  not  so 
pleasant  to  look  upon.  .  .  .  But 
the  ugliest  were  expelled  from  the 
garden  some  time  ago  and  took  refuge 
with  the  Miseries.  For  we  must  not 
forget  that  the  Miseries  inhabit  an 
adjoining  cave,  which  communicates 
with  the  Garden  of  Happiness  and  is 
separated  from  it  only  by  a  sort  of 
vapour  or  fine  veil,  lifted  at  every 
moment  by  the  winds  that  blow  from 
the  heights  of  Justice  or  from  the 
depths  of  Eternity.  .  .  .  What  we 
have  now  to  do  is  to  organise  ourselves 
and  take  certain  precautions.  Gen- 
erally, the  Joys  are  very  good;  but, 
still,  there  are  some  of  them  that  are 
more  dangerous  and  treacherous  than 
the  greatest  Miseries. 
Bread 
1  have  an  idea !  If  they  are  dangerous 
and  treacherous,  would  it  not  be  bet- 
ter for  us  all  to  wait  at  the  door,  so 
that  we  may  lend  a  hand  to  the  chil- 

162 


The  Blue  Bird 

dren  should  tlrey  be  obliged  to  fly? 
•    •    •    • 

The  Dog 
Not  at  all !     Not  at  all !     I  mean  to  go 
everywhere  with  my  little  godsl     Let 
those  who  are  afraid  remain  at  the 
door!     We  have  no  need  (looking  at 
Bread)   of  cowards   (looking  at  the 
Cat)  or  traitors !    .    .    . 
Fire 
I'm  going !    .    .    .    I  hear  it's  great  fun ! 
.    .    .    They  dance  all  the  time.  .  .  . 
Bread 
Do  they  have  any  eating  as  well? 

Water  (moaning) 
I  have  never  known  the  smallest  Happi- 
ness!   ...   I  should  like  to  see  some 
at  last!  .... 

Light 
Hold  your  tongues!  Who  asked  your 
opinions?  .  .  .  This  is  what  I  have 
decided:  the  Dog,  Bread  and  Sugar 
shall  go  with  the  children.  Water 
shall  stay  outside,  because  she  is  too 
cold,  and  Fire,  because  he  is  too  tur- 
163 


The  Blue  Bird 

bulent.  I  strongly  urge  Milk  to  re- 
main at  the  door,  because  he  is  so  im- 
pressionable.   As  for  the  Cat,  he  can 

do  as  he  likes 

The  Cat 

I  shall  take  the  opportunity  of  calling  on 
the  chief  Miseries  of  my  acquaintance, 
who  live  next  door  to  the  Joys.  .  .  . 
Tyltyl 

And  you,  Light?    Aren't  you  coming? 
Light 

I  cannot  go  into  the  Joys  like  this :  most 
of  them  cannot  endure  me.  But  I 
have  here  the  thick  veil  with  which  I 
cover  myself  when  I  visit  happy  peo- 
ple. .  .  .  (She  unfolds  a  long  veil 
and  wraps  herself  in  it  carefully.) 
Not  a  ray  of  my  soul  must  startle 
them,  for  there  are  many  Happi- 
nesses that  are  afraid  and  are  not 
happy.  .  .  .  There  .  .  .  like  this, 
even  the  ugliest  and  coarsest  of  them 
will  have  nothing  to  fear.  .  .  . 

(  The  curtain  opens  and  discloses 
the  next  Scene) 

164 


The  Blue  Bird 

Scene  2. — The  Palace  of  Happiness 
When  the  curtain  of  clouds  opens,  the  stage 
representst  in  the  forefront  of  the 
palace,  a  sort  of  hall  formed  of  tall 
marble  columns,  between  which  hang 
heavy  purple  draperies,  supported  by 
golden  ropes  and  concealing  all  the 
background.  The  architecture  sug- 
gests the  most  sensual  and  sumptuous 
moments  of  the  Venetian  or  Flemish 
Renascence,  as  seen  in  the  pictures  of 
Veronese  or  Rubens,  with  garlands, 
horns  of  plenty,  fringes,  vases,  statues, 
gildings,  lavishly  distributed  on  every 
side.  In  the  middle  stands  a  massive 
and  marvellous  table  of  jasper  and 
silver-gilt,  laden  with  candlesticks, 
glass,  gold  and  silver  plate  and  fabu- 
lous viands.  Around  the  table,  the 
biggest  luxuries  of  the  Earth  sit  eating, 
drinking,  shouting,  singing,  tossing 
and  lolling  about  or  sleeping  among 
the  haunches  of  venison,  the  miracu- 
lous fruitsf  the  overturned  jars  and 
ewers.     They  are  enormously,  incredi- 

165 


The  Blue  Bird 

bly  fat  and  red  in  the  face,  covered 
with  velvet  and  brocade,  crowned  with 
gold  and  pearls  and  precious  stones. 
Beautiful  female  slaves  incessantly 
bring  decorated  dishes  and  foaming 
beverages.  Vulgar,  blatantly  hilarious 
music,  in  which  the  brasses  predomi- 
nate. The  stage  is  bathed  in  a  red  and 
heavy  light. 

(Tyltyl,  Mytyl,  the  Dog,  Bread  and 
Sugar  are  a  little  awestruck  at  first 
and  crowd  round  Light  in  the  fore- 
ground, to  the  right.  The  Cat,  with- 
out a  word,  walks  to  the  background, 
also  to  the  right,  lifts  a  dark  curtain 
and  disappears.) 

Tyltyl 

Who  are  those  fat  gentlemen  enjoying 
themselves  and  eating  such  a  lot  of 
good  things? 

Light 

They  are  the  biggest  Luxuries  of  the  Earth, 
the  ones  that  can  be  seen  with  the 
naked  eye.     It  is  possible,  though  not 

166 


The  Blue  Bird 

very  likely,  that  the  Blue  Bird  may 
have  strayed  among  them  for  a  mo- 
ment. That  is  why  you  must  not  turn 
the  diamond  yet.  For  form's  sake,  we 
will  begin  by  searching  this  part  of  the 
hall. 

Tyltyl 
Can  we  go  up  to  them? 

Light 
Certainly.      They   are   not   ill-natured,    al- 
though they  are  vulgar  and  usually 
rather  ill-bred. 

Mytyl 
What  beautiful  cakes  they  have!   .... 

The  Dog 
And  such  game !    And  sausages !    And  legs 

of  lamb  and  calves' liver !   .  .   .  There 

is  nothing  nicer  or  lovelier  in  the  world 

than  liver!   .   .   . 

Bread 
Except  quartern-loaves  made  of  fine  white 

flour !    They  have  splendid  ones !   .   .  . 

How  lovely  they  are !     How  lovely 

they  are!  .  .  . 

167 


The  Blue  Bird 

Sugar 
I  beg  your  pardon,  I  beg  your  pardon,  I 
beg  a  thousand  pardons.  .  .  .  Allow 
me,  allow  me.  ...  I  would  not  like 
to  hurt  anybody's  feelings ;  but  are  you 
not  forgetting  the  sweetmeats,  which 
form  the  glory  of  that  table  and 
which,  if  I  may  say  so,  surpass  in 
grandeur  and  magnificence  all  that 
exists  in  this  hall,  or  perhaps  anywhere 

vljC  •       •      •      • 

Tyltyl 

How  pleased  and  happy  they  look!  .  .  . 
And  they  are  shouting!  And  laugh- 
ing! And  singing!  ...  I  believe 
they  have  seen  us.  .  .  . 

{A  dozen  of  the  biggest  Lux- 
uries have  risen  from  table 
and     now,     holding     their 
stomachs  in  their  hands f  ad- 
vance   laboriously    towards 
the  Children.) 
Light 
Have  no  fear,  they  are  very  affable.  .  .  . 
They  will  probably  invite  you  to  din- 

j68 


The  Blue  Bird 

ner.  .  .  .  Do  not  accept,  do  not  ac- 
cept anything,  lest  you  should  forget 
your  mission.   .  .  . 
Tyltyl 

Whart?    Not  even  a  tiny  cake?    They  look 
so  good,  so  fresh,  so  well  iced  with 
sugar,  covered  with  candied  fruits  and 
brimming  over  with  cream !  .  .  . 
Light 

They  are  dangerous  and  would  break  your 
will.  A  man  should  know  how  to 
sacrifice  something  to  the  duty  he  is 
performing.  Refuse  politely,  but 
firmly. 

The  Biggest  of  the  Luxuries  (holding 
out  his  hand  to  Tyltyl) 

How  do  you  do,  Tyltyl  ?  .  .  . 
Tyltyl  (surprised) 

Why,  do  you  know  me?  .  .  .  Who  are 
you?  .  .  . 

The  Luxury 

I  am  the  biggest  of  the  Luxuries,  the 
Luxury  of  Being  Rich;  and  I  come,  in 
the  name  of  my  brothers,  to  beg  you 
and  your  family  to  honour  our  endless 

i6q 


The   Blue   Bird 

repast  with  your  presence.  You  will 
find  yourself  surrounded  by  all  that  is 
best  among  the  real,  big  Luxuries  of 
this  Earth.  Allow  me  to  introduce 
to  you  the  chief  of  them.  Here  is  my 
son-in-law,  the  Luxury  of  Being  a 
Landowner,  who  has  a  stomach  shaped 
like  a  pear.  This  is  the  Luxury  of 
Satisfied  Vanity,  who  has  such  a  nice, 
puffy  face.  ( The  Luxury  of  Satis- 
fied Vanity  gives  a  patronising 
nod.)  These  are  the  Luxury  of 
Drinking  when  you  are  not  Thirsty 
and  the  Luxury  of  Eating  when  you 
are  not  Hungry:  they  are  twins  and 
their  legs  are  made  of  macaroni. 
{They  bow,  staggering.)  Here  are 
the  Luxury  of  Knowing  Nothing,  who 
is  as  deaf  as  a  post,  and  the  Luxury 
of  Understanding  Nothing,  who  is  as 
blind  as  a  bat.  Here  are  the  Luxury 
of  Doing  Nothing  and  the  Luxury  of 
Sleeping  more  than  Necessary:  their 
hands  are  made  of  bread-crumb  and 
their  eyes  of  peach-jelly.    Lastly,  here 

170 


The  Blue  Bird 

is  Fat  Laughter:  his  mouth  is  split 
from  ear  to  ear  and  he  is  irresistible. 
.  .  .  (Fat  Laughter  bows,  writh* 
ing  and  holding  his  sides.) 

Tyltyl    {pointing  to  a  Luxury  who  is 
standing  a  little  on  one  side) 

And  who  is  that  one,  who  dares  not  come 
up  to  us  and  who  is  turning  his 
back?  .  .  . 

The  Luxury  of  Being  Rich 
Do  not  ask  about  him:  he  is  a  little  awk- 
ward and  is  not  fit  to  be  introduced  to 
children.  .  .  .  (Seizing  Tyltyl's 
hands)  But  come  along!  They  are  be- 
ginning the  banquet  all  over  again.  .  .  . 
It  is  the  twelfth  time  since  this  morn- 
ing. We  are  only  waiting  for  you. 
.  .  .  Do  you  hear  all  the  revellers 
calling  and  shouting  for  you?  ...  I 
cannot  introduce  you  to  all  of  them, 
there  are  so  many  of  them.  .  .  .  (Of- 
fering his  arm  to  the  two  children) 
Allow  me  to  lead  you  to  the  two  seats 
of  honour.  .  .  . 

171 


The  Blue  Bird 

Tyltyl 

No,  thank  you  very  much,  Mr.  Luxury. 
...  I  am  so  sorry.  ...  I  can't 
come  for  the  moment.  .  .  .  We  are 
in  a  great  hurry,  we  are  looking  for 
the  Blue  Bird.  You  don't  happen  to 
know,  I  suppose,  where  he  is  hiding? 

•      •      • 

The  Luxury 

The  Blue  Bird?  ....  Wait  a  bit.  .  .  . 
Yes,  I  remember.  .  .  .  Some  one  was 
telling  me  about  him  the  other  day» 
.  .  .  He  is  a  bird  that  is  not  good  to 
eat,  I  believe.  ...  At  any  rate,  he 
has  never  figured  on  our  table.  .  .  . 
That  means  that  we  have  a  poor  opin- 
ion of  him.  But  don't  trouble;  we 
have  much  better  things.  .  .  .  You 
shall  share  our  life,  you  shall  see  all 
that  we  do.  .  .  . 

Tyltyl 

What  do  you  do? 

The  Luxury 

Why,  we  occupy  ourselves  incessantly  in 
doing  nothing.  .  .  .  We  never  have  a 

J  PA 


The  Blue  Bird 

moment's     rest.  .  .  .  We     have    to 
drink,  we  have  to   eat,  we  have  to 
sleep.     It's  most  engrossing.  .  .  . 
Tyltyl 

Is  it  amusing? 

The  Luxury 

Why,  yes.  ...  It  needs  must  be;  it's  all 
there  is  on  this  Earth.  .  .  . 
Light 

Do  you  think  so  ?.  .  . 

The  Luxury  (pointing  to  Light,  aside, 
to  Tyltyl) 

Who  is  that  ill-bred  young  person?  .  .  . 
(During  the  whole  of  the  preced* 
ing  conversation,  a  crowd 
of  Luxuries  of  the  second 
order  have  been  busying 
themselves  with  the  Dog, 
Sugar  and  Bread  and  have 
dragged  them  to  the  orgie. 
Tyltyl  suddenly  sees  them 
seated  fraternally  at  the 
table  with  their  hosts,  eat- 
ing,  drinking  and  flinging 
themselves  about  wildly,) 

-  173 


The  Blue  Bird 

Tyltyl 
Why,  look,  Light!  .  .  .  They  are  sitting 
at  the  table !   .  .  . 

Light 
Call  them  back,  or  this  will  have  a  bad 
end!  .  .  . 

Tyltyl 
Tylo !  .  .  .  Here,  Tylo !  .  .  .  Come  here 
at  once,  will  you?  Do  you  hear?  .  .  . 
And  you  too,  Sugar  and  Bread,  who 
told  you  to  leave  me?  .  .  .  What  are 
you  doing  there,  without  permission? 

Bread  (speaking  with  his  mouth  full) 

Can't  you  keep  a  civil  tongue  in  your 
mouth?  .  .  . 

Tyltyl 

What?  Is  Bread  daring  to  be  imperti- 
nent? .  .  .  Why,  what's  come  over 
you?  .  .  .  And  you,  Tylo?  ...  Is 
that  the  way  you  obey?  Now  then, 
come  here,  on  your  knees,  on  your 
knees !   .  .  .  And  look  sharp !  .  .  . 

The  Dog  (muttering }  from  the  end  of  the 

table) 

174 


The  Blue  Bird 

When  I'm  eating,  I'm  at  home  to  nobody 
and  I  hear  nothing.   .   .   . 
Sugar  {honey-mouthed) 

Pardon  us,  we  could  not  possibly  leave  such 
charming    hosts    so    abruptly:     they 
would  be  offended.  .  .  . 
The  Luxury 

You  see!  .  .  .  They  are  setting  you  an 
example.  .  .  .  Come,  we  are  waiting 
for  you.  .  .  .  We  won't  hear  of  a  re- 
fusal. .  .  .  We  shall  have  to  resort 
to  a  gentle  violence.  .  .  .  Come,  you 
Luxuries,  help  me!  .  .  .  Let  us  push 
them  to  the  table  by  force,  so  that 
they  may  be  happy  in  spite  of  them- 
selves! .  .  .  (All  the  Luxuries,  ut- 
tering cries  of  joy  and  skipping  about 
as  nimbly  as  they  are  able,  drag  the 
Children,  who  struggle f  while  Fat 
Laughter  seizes  Light  vigorously 
round  the  waist.) 

Light 

Turn  the  diamond,  it  is  time !   .  .  . 

(Tyltyl  obeys  Light's  order. 
Forthwith,   the  stage  is  lit 

T  —  - 

1  /  :> 


The  Blue  Bird 

up  with  an  ineffably  pure, 
divinely  roseate,  harmonious 
and  ethereal  brightness.  Tht 
heavy  ornaments  in  the  fore- 
ground,  the  thick  red  hang- 
ings become  unfastened  and 
disappear,  revealing  an  im- 
mense and  magnificent  hall, 
a  sort  of  cathedral  of  glad- 
ness and  serenity,  tall,  inno- 
cent and  almost  transparent, 
whose  endless  fabric  rests 
upon  innumerous  long  and 
slender,  limpid  and  blissful 
columns,  suggesting  the 
architecture  of  the  Palladian 
churches  or  certain  draw- 
ings by  Carpacciof  notably 
the  (< Presentation  of  the 
Virgin"  in  the  Uffizi  Gal- 
lery. The  table  of  the  orgie 
melts  away  without  leaving 
a  trace;  the  velvets,  the  bro- 
cades, the  garlands  of  the 
Luxuries  rise  before  the 
176 


The  Blue  Bird 

luminous  gust  that  invades 
the  templef  tear  asunder 
and  fall,  together  with  the 
grinning  masks,  at  the  feet 
of  the  astounded  revellers. 
These  become  visibly  de- 
flated, like  burst  bladders, 
exchange  glances,  blink  their 
eyes  in  the  unknown  rays 
that  hurt  them;  and,  seeing 
themselves  at  last  as  they 
really  are,  that  is  to  say, 
naked,  hideous,  flabby  and 
lamentable,  they  begin  to 
utter  yells  of  shame  and 
dismay,  amid  which  those 
of  Fat  Laughter  are 
clearly  distinguishable  above 
all  the  rest.  The  Luxury 
of  Understanding  Noth- 
ing alone  remains  perfectly 
calm,  while  his  friends  rush 
about  madly,  trying  to  flee, 
to  hide  themselves  in  corners 
which    they    hope    to    find 

177 


The  Blue  Bird 

dark.  But  there  is  not  a 
shadow  left  in  the  dazzling 
room.  And  so  the  majority, 
in  their  despair,  decide  to 
pass  through  the  threatening 
curtain  which,  in  an  angle 
on  the  right,  closes  the  vault 
of  the  Cave  of  Miseries. 
Each  time  that  one  of  them, 
in  his  panic,  raises  a  skirt  of 
the  curtain,  a  storm  of 
oaths,  imprecations  and 
maledictions  is  heard  to  is- 
sue from  the  hollow  depths 
of  the  cave.  As  for  the 
Dog,  Bread  and  Sugar, 
they  hang  their  heads ,  join 
the  group  of  the  Children 
and  hide  behind  them  very 
sheepishly.) 
Tyltyl  (watching  the  LUXURIES  flying) 
Goodness,  how  ugly  they  are !  .  .  .  Where 
are  they  going?  .  .  . 
Light 
I  really  believe  that  they  have  lost  fcheir 

173 


The  Blue  Bird 

heads.   .   .  .  They  are  going  to  take 
refuge  with  the  Miseries,  where  I  very 
much  fear  that  they  will  be  kept  for 
good.  .    .   . 
Tyltyl   (looking  around  him,  wonder- 
struck) 
Oh,  what  a  beautiful  hall,  what  a  beautiful 
hall!  .  .  .  Where  are  we?  .  .  . 
Light 
We  have  not  moved:  it  is  your  eyes  that 
see  differently.   .  .  .  We  now  behold 
the  truth  of  things;  and  we  shall  per- 
ceive the  soul  of  the  Joys  that  endure 
the  brightness  of  the  diamond. 
Tyltyl 
How  beautiful  it  is !  .  .  .  And  what  lovely 
weather!   ...  It  is  just  like  midsum- 
mer. .  .  .  Hullo !    It  looks  as  though 
people  were  coming  to  talk  to  us.  .  .  . 
(The    halls    begin    to    fill    with 
angel  forms  that  seem  to  be 
emerging  from  a  long  slum* 
ber  and  glide  harmoniously 
between  the  columns.    They 
are     clad     in     shimmering 
179 


The  Blue  Bird 

dresses,  of  soft  and  subtle 
shades:      rose  -  awakening, 
water's  -  smile,  amber  -  dew, 
blue-of'dawn,  etc. 
Light 
Here  come  some  amiable  and  curious  Joys 
who  will  direct  us.  .  .  . 

Tyltyl 
Do  you  know  them  ?  .  .  . 

Light 
Yes,   I  know  them  all;  I  often  come  to 
them,  without  their  knowing  who  I 
am.  .  .  . 

Tyltyl 

Oh,  what  a  lot  of  them  there  are!  .  .  . 
They  are  crowding  from  every  side! 
•  •  • 

Light 
There    were    many    more    of   them   once. 
The  Luxuries  have  done  them  great 
harm. 

Tyltyl 

No  matter,  there  are  a  good  few  of  them 
left.  .  .  . 

1 80 


The  Blue  Bird 

Light 
You  will  see  plenty  of  others,  as  the  in- 
fluence    of     the     diamond     spreads 
through    the    halls.   .   .   .  There    are 
many    more    Happinesses    on    Earth 
than  people  think;  but  the  generality 
of  men  do  not  discover  them.  .  .  . 
Tyltyl 
Here  are  some  little  ones:  let  us  run  and 
meet  them.  .  .  . 

Light 
It  is  unnecessary:    those  which  interest  us 
will  pass  this  way.     We  have  no  time 
to  make  the  acquaintance  of  all  the 
rest.  .  .  . 

{A  troop  of  little  Happinesses, 
frisking  and  bursting  with 
laughter,  run  up  from  the 
back  of  the  halls  and  dance 
round  the  Children  in  a 
ring. ) 
Tyltyl 
How  pretty,    how  very  pretty  they   are! 
.  .  .  Where  do  they  come  from,  who 
are  they?  .  .  . 

18' 


The  Blue  Bird 

Light 
They  are  the  Children's  Happinesses.  .  .  . 

Tyltyl 
Can  one  speak  to  them? 

Light 
It  would  be  no  use.    They  sing,  they  dance, 
they    laugh,    but    they    do    not    talk 
yet.  .  .  . 

Tyltyl  (skipping  about) 
How  do  you  do?  How  do  you  do?  .  .  . 
Oh,  look  at  that  fat  one  laughing! 
.  .  .  What  pretty  cheeks  they  have, 
what  pretty  frocks  they  have!  .  .  . 
Are  they  all  rich  here?  .  .  . 

Light 

Why,  no,  here,  as  everywhere,  there  are 

many  more  poor  than  rich.  .  .  . 

Tyltyl 
Where  are  the  poor  ones?  .  .  . 

Light 
You     can't     distinguish     them.    ...    A 
Child's  Happiness  is  always  arrayed 
in     all     that    is    most    beautiful     in 
Heaven  and  upon  Earth. 

182 


The  Blue  Bird 

Tyltyl  (unable  to  restrain  himself) 
I  should  like  to  dance  with  them.   .   .   . 

Light 
It  is  absolutely  impossible,  we  have  no 
time.  ...  I  see  that  they  have  not 
the  Blue  Bird.  .  .  .  Besides,  they  are 
in  a  hurry :  you  see,  they  have  already 
passed.  .  .  .  They  too  have  no  time 
to  waste,  for  childhood  is  very  short 
•  «  • 

(Another  troop  of  Happi- 
nesses, a  little  taller  than 
the  last,  rush  into  the  hall, 
singing  at  the  top  of  their 
voice,  "There  they  are! 
There  they  are!  They  see 
us!  They  see  us!)y  and 
dance  a  merry  fling  around 
the  Children,  at  the  end 
of  which  the  one  who  ap- 
pears to  be  the  chief  of  the 
little  band  goes  up  to  Tyl- 
TYL  with  hand  out- 
stretched.) 

183 


The  Blue  Bird 

The  Happiness 
How  do  you  do,  Tyltyl  ?  .  .  . 

Tyltyl 
Another  one   who  knows   me!  ...    (To 
Light)  I  am  getting  known  wherever 
I    go!  .  .  .   (To    the    Happiness) 

Who  are  you  ?  .  .  . 

The  Happiness 
Don't  you  recognise  me?  .  .  .  I'll  wager 
that  you  don't  recognise  any  one  here ! 

•  •  . 

Tyltyl  (a  little  embarrassed) 
Why,     no.  ...  I     don't     know.   ...  I 
don't  remember  seeing  any  of  you. 

•      •      • 

The  Happiness 
There,  do  you  hear ?  .  .  .  I  was  sure  of  it! 
.  .  .  He  has  never  seen  us !  .  .  . 
(All  the  other  Happinesses  burst  out 
laughing)  Why,  my  dear  Tyltyl,  we 
are  the  only  things  you  do  know !  .  .  . 
We  are  always  around  you !  .  .  .  We 
eat,  drink,  wake  up,  breathe  and  live 
with  you!  .  .  . 

184 


The  Blue  Bird 

Tyltyl 
Oh,  yes,  just  so,  I  know,  I  remember.  .  .  . 
But  I  should  like  to  know  what  your 
names  are.  .  .  . 

The  Happiness 

I  can  see  that  you  know  nothing.  ...  I 

am  the  chief  of  the  Happinesses  of 

your  home;  and  all  these  are  the  other 

Happinesses  that  live  there.  .  .  . 

Tyltyl 

Then  there  are  Happinesses  in  my  home? 

(All  the  Happinesses  burst  out  laughing.) 
The  Happiness 

You  heard  him !  .  .  .  Are  there  Happi- 
nesses in  his  home!  .  .  .  Why,  you 
little  wretch,  it  is  crammed  with  Hap- 
pinesses in  every  nook  and  cranny! 
.  .  .  We  laugh,  we  sing,  we  create 
enough  joy  to  knock  down  the  walls 
and  lift  the  roof;  but,  do  what  we 
may,  you  see  nothing  and  you  hear 
nothing.  ...  I  hope  that,  in  future, 
you  will  be  a  little  more  sensible.  .  .  . 
Meantime,  you  shall  shake  hands  with 

i8< 


The  Blue  Bird 

the  more  noteworthy  of  us.  .  .  . 
Then,  when  you  reach  home  again, 
you  will  recognise  them  more  easily 
and,  at  the  end  of  a  fine  day,  you  will 
know  how  to  encourage  them  with  a 
smile,  to  thank  them  with  a  pleasant 
word,  for  they  really  do  all  they  can 
to  make  your  life  easy  and  delightful. 
.  .  .  Let  me  introduce  myself  first: 
the  Happiness  of  Being  Well,  at  your 
service.  ...  I  am  not  the  prettiest, 
but  I  am  the  most  important.  Will  you 
know  me  again?  .  .  .  This  is  the 
Happiness  of  Pure  Air,  who  is  almost 
transparent.  .  .  .  Here  is  the  Happi- 
ness of  Loving  one's  Parents,  who  is 
clad  in  grey  and  always  a  little  sad, 
because  no  one  ever  looks  at  him.  .  .  . 
Here  are  the  Happiness  of  the  Blue 
Sky,  who,  of  course,  is  dressed  in  blue, 
and  the  Happiness  of  the  Forest,  who, 
also  of  course,  is  clad  in  green:  you 
will  see  him  every  time  you  go  to  the 
window.  .  .  .  Here,  again,  is  the 
good  Happiness  of  Sunny  Hours,  who 

136 


The  Blue  Bird 

is  diamond-coloured,  and  this  is  the 
Happiness  of  Spring,  who  is  bright 
emerald.  .  .  . 

Tyltyl 

And  are  you  as  fine  as  that  every  day? 
The  Happiness  of  Being  Well 

Why,  yes,  it  is  Sunday  every  day,  in  every 
house,  when  people  open  their  eyes. 
.  .  .  And  then,  when  evening  comes, 
here  is  the  Happiness  of  the  Sunsets, 
who  is  grander  than  all  the  kings  in 
the  world  and  who  is  followed  by  the 
Happiness  of  Seeing  the  Stars  Rise, 
who  is  gilded  like  a  god  of  old.  .  .  . 
Then,  when  the  weather  breaks,  here 
are  the  Happiness  of  the  Rain,  who 
is  covered  with  pearls,  and  the  Happi- 
ness of  the  Winter  Fire,  who  opens  his 
beautiful  purple  mantle  to  frozen 
hands.  .  .  .  And  I  have  not  mentioned 
the  best  among  us,  because  he  is  nearly 
a  brother  of  the  great  limpid  Joys 
whom  you  will  see  presently :  his  name 
is  the  Happiness  of  Innocent 
Thoughts,  and  he  is  the  brightest  of 

is? 


The  Blue  Bird 

us  all.  .  .  .  And  then  here  are.  .  .  . 
But  really  there  are  too  many  of 
them!  .  .  .  We  should  never  have 
done;  and  I  must  first  send  word  to 
the  Great  Joys,  who  are  right  at  the 
back,  near  the  gates  of  Heaven,  and 
who  have  not  yet  heard  of  your  ar- 
rival. ...  I  will  send  the  Happiness 
of  Running  Barefoot  in  the  Dew,  who 
is  the  nimblest  of  us.  .  .  .  (To  the 
Happiness  of  Running  Barefoot 
in  the  Dew,  who  comes  forward 
capering)  Off  you  go !  .  .  . 

Light  (to  Tyltyl) 
In  the  meantime,  you  might  enquire  about 
the  Blue  Bird.    It  is  just  possible  that 
the  chief   Happiness  of  your   home 
knows  where  he  is.  .  .  . 

Tyltyl 
Where  is  he?  .  .  . 

The  Happiness 
He  doesn't  know  where  the  Blue  Bird  is! 
.  .  .  (All  the  Happinesses  of  the 
Home  burst  out  laughing,) 
iSS 


The  Blue  Bird 

Tyltyl   {vexed) 
No,  I  do  not  know.  .  .  .  There's  nothing 
to  laugh    at.  .  .  .    {Fresh   bursts   of 
laughter.) 

The  Happiness 
Come,  don't  be  angry  .  .  .  and  let  us  be 
serious.  .  .  .  He  doesn't  know :  well, 
what  do  you  expect?  He  is  no  more 
absurd  than  the  majority  of  men.  .  .  . 
But  little  Happiness  of  Running  Bare- 
foot in  the  Dew  has  told  the  Great 
Joys  and  they  are  coming  towards  us. 
•  •  • 

(Tall  and  beautiful  angelic  fig- 
uresf  clad  in  shimmering 
dresses,  come  slowly  for- 
ward. ) 

Tyltyl 
How  beautiful   they   are!  .  .  .  Why   are 
they    not    laughing?  .  .  .  Are    they 
not  happy?  .  .  . 

Light 
It  is  not  when  one  laughs  that  one  is  really 
happy.  .  .  . 

i8q 


The  Blue  Bird 

Tyltyl 

Who  are  they?  .  .   . 

The  Happiness 

They  are  the  Great  Joys.   .  .  , 
Tyltyl 

Do  you  know  their  names?  .  .  . 
The  Happiness 

Of  course;  we  often  play  with  them.  .  .  . 
Here,  first  of  all,  before  the  others,  is 
the  Great  Joy  of  Being  Just,  who 
smiles  each  time  an  injustice  is  re- 
paired. I  am  too  young :  I  have  never 
seen  her  smile  yet.  Behind  her  is  the 
Joy  of  Being  Good,  who  is  the  hap- 
piest, but  the  saddest;  and  it  is  very 
difficult  to  keep  her  from  going  to  the 
Miseries,  whom  she  would  like  to  con- 
sole; for,  if  she  left  us,  we  should  be 
almost  as  miserable  as  the  Miseries 
themselves.  On  the  right  is  the  Joy 
of  Fame,  next  to  the  Joy  of  Thinking. 
After  her  comes  the  Joy  of  Under- 
standing, who  is  always  looking  for 
her  brother,  the  Luxury  of  Under- 
standing Nothing.  .  .  . 

IQO 


The  Blue  Bird 

Tyltyl 
But   I    have    seen    her   brother!   .  .  .  He 
went  to  the    Miseries   with   the    Big 
Luxuries.  .  .  . 

The  Happiness 
I  was  certain  of  it.  .  .  .  He  has  turned 
out  badly;  keeping  evil  company  has 
corrupted  him  entirely.  .  .  .  But  do 
not  speak  of  it  to  his  sister.  She 
would  want  to  go  and  look  for  him 
and  we  should  lose  one  of  our  most 
beautiful  Joys.  .  .  .  Here,  among  the 
greatest  Joys,  is  the  Joy  of  Seeing 
what  is  Beautiful,  who  daily  adds  a 
few  rays  to  the  light  that  reigns 
amongst  us.  .  .  . 

Tyltyl 
And  there,    far  away,    far   away,    in  the 
golden  clouds,  the  one  whom  I  can 
hardly  see  when  I  stand  as  high  as  I 
can  on  tip-toe  ?  .  .  . 

The  Happiness 
That  is  the   Great  Joy  of  Loving.  .  .  . 
But,  do  what  you  will,  you  are  ever 

IQI 


The  Blue  Bird 

so  much  too  small   to  see  her  alto- 
gether. .  .  . 

Tyltyl 
And  over  there,   right  at  the  back,  those 
who  are  veiled  and  who  do  not  come 
near?  .  .  . 

The  Hapfiness 
Those  are  the  Joys  whom  men  do  not  yel 
know.  .  .  . 

Tyltyl 
What  do  the  others  want  with  us?  .  .  . 
Why  are  they  standing  aside?  .  .  . 
The  Happiness 
It  is  before  a  new  Joy  who  is  arriving,  per- 
haps the  purest  that  we  have  here. 

•      •      • 

Tyltyl 
Who  is  it? 

The  Happiness 
Don't  you  recognise  her  yet?  .  .  .  But 
take  a  better  look  at  her,  open  your 
two  eyes  down  to  the  very  heart  of 
your  soul !  .  .  .  She  has  seen  you,  she 
has  seen  you!  .  .  .  She  runs  up  to 
you,  holding  out  her  arms!  ...  It 
192 


The  Blue  Bird 

is  your  mother's  Joy,  it  is  the  peerless 
Joy  of  Maternal  Love!  .  .  . 

( The  other  Joys,  who  have  run 
up  from  every  side,  acclaim 
the  Joy  of  Maternal 
Love  with  their  cheers  and 
then  fall  back  before  her  in 
silence. ) 

The  Joy  of  Maternal  Love 
Tyltyl!  And  Mytyl!  .  .  .  What,  do  I 
find  you  here  ?  .  .  .  I  never  expected 
it!  ...  I  was  very  lonely  at  home; 
and  here  are  you  two  climbing  to  that 
Heaven  where  the  souls  of  all  mothers 
beam  with  joy !  .  .  .  But  first  kisses, 
heaps  and  heaps  of  kisses!  .  .  .  Into 
my  arms,  the  two  of  you;  there  is 
nothing  on  earth  that  gives  greater 
happiness!  .  .  .  Tyltyl,  aren't  you 
laughing?  .  .  .  Nor  you  either, 
Mytyl?  .  .  .  Don't  you  know  your 
mother's  love  when  you  see  it?  .  .  , 
Why,  look  at  me:  are  these  not  m) 
eyes,  my  lips,  my  arms?  .  .  . 

193 


The  Blue  Bird 

Tyltyl 

Yes,  yes,  I  recognise  them,  but  I  did  not 
know.  .   .   .  You    are    like    Mummy, 
but  you  are  much  prettier.   .   .   . 
Maternal  Love 

Why,  of  course,  I  have  stopped  growing 
old.  .  .  .  And  every  day  brings  me 
fresh  strength  and  youth  and  happi- 
ness. .  .  .  Each  of  your  smiles  makes 
me  younger  by  a  year.  ...  At  home, 
that  does  not  show;  but  here  every- 
thing is  seen  and  it  is  the  truth.  .   .   . 

Tyltyl  {wonder-struck,  gazing  at  her  and 
kissing  her  by  turns) 

And  that  beautiful  dress  of  yours:  what  is 
it  made  of  ?  ...  Is  it  silk,  silver  or 
pearls?  .   .  . 

Maternal  Love 

No,  it  is  made  of  kisses  and  caresses  and 
loving  looks.  .  .  .  Each  kiss  you  give 
me  adds  a  ray  of  moon-light  or  sun- 
shine to  it.  .  .  . 

Tyltyl 

How  funny,  I  should  never  have  thought 
that  you  were  so  rich!  .  .  .  Where 

J94 


The  glue  Bird 

used  you  to  hide  it?  .  .  .  Was  it  in 
the  cupboard  of  which  Daddy  has  the 
key?  .   .   . 

Maternal  Love 

No,  no,  I  always  wear  it,  but  people  do  not 
see  it,  because  people  see  nothing 
when  their  eyes  are  closed.  .  .  .  All 
mothers  are  rich  when  they  love  their 
children.  .  .  .  There  are  no  poor 
mothers,  no  ugly  ones,  no  old  ones. 
Their  love  is  always  the  most 
beautiful  of  the  Joys.  .  .  .  And, 
when  they  seem  most  sad,  it  needs  but 
a  kiss  which  they  receive  or  give  to 
turn  all  their  tears  into  stars  in  the 
depths  of  their  eyes.   .   .   . 

Tyltyl    (looking    at   her    with    astonish- 
ment) 

Why,  yes,  it's  true,  your  eyes  are  filled  with 
stars.  .  .  .  And  they  are  really  your 
eyes,  only  they  are  much  more  beauti- 
ful. .  .  .  And  this  is  your  hand  too, 
with  the  little  ring  on  it.  .  .  .  It  even 
has  the  burn  which  you  gave  it  one 
evening  when  lighting  the  lamp.   .  .  . 

195 


The  Blue  Bird 

But  it  is  much  whiter;  and  how  deli- 
cate the  skin  is !  .  .  .  There  seems  to 
be  light  flowing  through  it.  .  .  . 
Doesn't  it  do  any  work  like  the  one  at 
home?  .   .  . 

Maternal  Love 
Why,  yes,  it  is  the  very  same :  did  you  never 
see  that  it  becomes  quite  white  and 
fills  with  light  the  moment  it  fondles 
you?  .  .  . 

Tyltyl 
It's    wonderful,    Mummy:   you    have    the 
same  voice  also;  but  you  speak  much 
better  than  you  do  at  home.  .  .  . 

Maternal  Love 

At  home,  one  has  too  much  to  do  and  there 
is  no  time.  .  .  .  But  what  one  does 
not  say  one  hears  all  the  same.  .  .  . 
Now  that  you  have  seen  me,  will  you 
know  me  again,  in  my  torn  dress, 
when  you  go  back  to  the  cottage  to- 
morrow? .  .  . 

Tyltyl 

I  don't  want  to  go  back.  ...  As  you  are 

196 


The  Blue  Bird 

here,  I  want  to  stay  also,  as  long  aa 
you  remain.  .  .  . 

Maternal  Love 

But  it's  just  the  same  thing:  I  am  down 
below,  we  are  all  down  below.  .  .  . 
You  have  come  up  here  only  to  realise 
and  to  learn,  once  and  for  all,  how  to 
see  me  when  you  see  me  down  below. 
.  .  .  Do  you  understand,  Tyltyl 
dear?  .  .  .  You  believe  yourself  in 
Heaven;  but  Heaven  is  wherever  you 
and  I  kiss  each  other.  .  .  .  There  are 
not  two  mothers;  and  you  have  no 
other.  .  .  .  Every  child  bas  only 
one;  and  it  is  always  the  same  one  and 
always  the  most  beautiful;  but  you 
have  to  know  her  and  to  know  how  to 
look.  .  .  .  But  how  did  you  manage 
to  come  up  here  and  to  find  a  road 
for  which  men  have  been  seeking  ever 
since  they  began  to  dwell  upon  the 
Earth?  .  .  . 

Tyltyl    (pointing   to   Light,   who,   dis- 
creetly, has  drawn  a  little  to  one  side) 

She  brought  me.  .  .  . 

197 


The  Blue  Bird 

Maternal  Love 

Who  is  she  ?  .  .  . 

Tyltyl 

Light.  .  .  . 

Maternal  Love 
I  have  never  seen  her.  ...  I  was  told  that 
she  was  very  fond  of  you  both  and 
very  kind.  .  .  .  But  why  does  she 
hide  herself?  .  .  .  Does  she  never 
show  her  face?  .  .  . 

Tyltyl 
Oh,  yes,  but  she  is  afraid  that  the  Joys 
might  be  frightened  if  they  saw  too 
clearly.  .  .  . 

Maternal  Love 
But  doesn't  she  know  that  we  are  waiting 
only  for  her!  (Calling  the  other 
Great  Joys)  Come,  come,  sisters! 
Come  quickly,  all  of  you !  Light  has 
come  to  visit  us  at  last !  .  .  . 

{A  stir  among  the  Great  Joys. 

who  draw  nearer ,  with  cries 
of  "Light  is  here!  .  .  * 
Light!   Light!  .  .  .") 

198 


The  Blue  Bird 

The  Joy  of  Understanding  (thrusting 
all  the  others  aside,  to  come  and  em~ 
brace  Light) 
You  are  Light  and  we  did  not  know  it! 
.  .  .  And  we  have  been  waiting  for 
you  for  years  and  years  and  years'! 
.  .  .  Do  you  recognise  me?  ...  I 
am  the  Joy  of  Understanding,  who 
have  been  seeking  you  for  so  long! 
.  .  .  We  are  very  happy,  but  we  can- 
not see  beyond  ourselves.  .   .   . 

The    Joy   of    Being    Just    (embracing 
Light  in  her  turn) 

Do  you  recognise  me?  ...  I  am  the  Joy 
of  Being  Just,  who  have  besought  you 
so  long.  .  .  .  We  are  very  happy, 
but  we  cannot  see  beyond  our  shadows. 

The  Joy  of  Seeing  what  is  Beautiful 

(also  embracing  Light) 
Do  you  recognise  me?  ...  I  am  the  Joy 
of  Seeing  what  is  Beautiful,  who  have 
loved  you  so  dearly.  .  .  .  We  are 
very  happy,  but  we  cannot  see  beyond 
our  dreams.  .  .  . 
199 


The  Blue  Bird 

The  Joy  of  Understanding 
Come,  sister,  come,  do  not  keep  us  waiting 
any  longer.  .  .  .  We  are  strong 
enough,  we  are  pure  enough.  .  .  . 
Put  aside  those  veils  which  still  con- 
ceal from  us  the  last  truths  and  the 
last  happinesses.  .  .  .  See,  all  my  sis- 
ters are  kneeling  at  your  feet.  .  .  . 
You  are  our  queen  and  our  reward. 

•      •      • 

Light   (drawing  her  veils  closer) 
Sisters,  my  beautiful  sisters,  I  am  obeying 
my  Master.  .  .  .  The  hour  is  not  yet 
come;  it  will  strike,  perhaps,  and  I 
shall  return  without  fear  and  without 
shadow.  .  .  .  Farewell,   rise  and  Id. 
us  kiss  once  more,  like  sisters  lost  and 
found,  wjiile  waiting  for  the  day  that 
will  soon  appear.  .  .  . 
Maternal  Love   (embracing  Light) 
You  have  been  very  good  to  my  poor  little 
ones.  .  .  . 

Light 
I  shall  always  be  good  to  those  who  love 
one  another.  .  .  . 

200 


The  Blue  Bird 

The  Joy  of  Understanding  (going  up 

to  Light) 
Let  the  last  kiss  be  laid  upon  my  forehead. 

•      •      • 

(  They  exchange  a  long  kiss;  and, 
when  they  separate  and 
raise  their  heads,  tears  are 
seen  to  stand  in  their  eyes.) 

Tyltyl  (surprised) 
Why  are  you   crying?  .  .  .    (Looking  at 
the  other  Joys)  I  say!    You're  crying 
too!  .  .  .  But  why  have  all  of  you 
tears  in  your  eyes?  .  .  . 

Light 
Hush,  dear.  .  .  . 


CURTAIN 


201 


The  Blue  Bird 

Act  V 

Scene  i. — Before  the  Curtain. 

Enter  Tyltyl,  Mytyl,  Light,  the  Dog, 
the  Cat,  Bread,  Fire,  Sugar, 
Water  and  Milk. 

Light 
I  have  received  a  note  from  the  Fairy  Bery- 
lune  telling  me  that  the  Blue  Bird  is 
probably  here. 

Tyltyl 
Where?  .   .   . 

Light 
Here,  in  the  graveyard  behind  that  wall. 
...  It  appears  that  one  of  the  dead 
in  the  graveyard   is   hiding  it  in   his 
tomb.   .    .    .  We  must  find  out  which 
one  it  is.  .    .    .  We  shall  have  to  pass 
them  under  review.  .    .    . 
Tyltyl 
Under  review  ?  .   .   .  How  is  that  done  ?  .  . . 

Light 
It  is  very  simple :  at  midnight,  so  as  not  to 

201 


The   Blue   Bird 

disturb  them  too  greatly,  you  will  turn 
the  diamond.  We  shall  see  them 
come  out  of  the  ground;  or  else  we 
shall  see  those  who  do  not  come  out  ly- 
ing in  their  tombs.  .  .  . 
Tyltyl 
Will  they  not  be  angry?  .    .    . 

Light 
Not  at  all ;  they  will  not  even  know.  .  .  . 
They  do  not  like  being  disturbed,  but, 
as  it  is  their  custom,  in  any  case,  to 
come  out  at  midnight,  that  will  not  in- 
convenience them.  .  .  . 
Tyltyl 

Why  are  Bread,  Sugar  and  Milk  so  pale 
and  why  do  they  say  nothing?  .    .   . 

Milk    (staggering) 

I  feel  I  am  going  to  turn.  .   .   . 

Light  (aside  to  Tyltyl) 
Do  not  mind  them.  .    .   .  They  are  afraid 
of  the  dead.  .    .    . 

Fire  (frisking  about) 
I'm  not  afraid  of  them !  .   .    .  I  am  used  to 
burning  them.  .   .   .  Time  was  when  I 
204 


The  Blue  Bird 

burnt  them  all;  that  was  much  more 
amusing  than  nowadays.  .   .    . 
Tyltyl     . 
And  why  is  Tylo  trembling?   .    .    .   Is  he 
afraid,  too?  .    .    . 

The  Dog 
I?   .    .    .   I'm  not  trembling!    ...   I  am 
never  afraid;  but  if  you  went  away, 
I  should  go  too.  .    .   . 
Tyltyl 
And  has  the  Cat  nothing  to  say?  .    .    . 

The  Cat  (mysteriously) 
I  know  what's  what.  .    .    . 

Tyltyl  (to  Light) 
Are  you  coming  with  us?  .    .    . 

Light 
No;  it  is  better  that  I  should  remain  at  the 
gate  of  the  graveyard  with  the  Things 
and  the  Animals.  .  .  .  Some  of  them 
would  be  too  frightened  and  I  fear 
that  the  others  would  misbehave.  .  .  . 
Fire,  in  particular,  would  want  to  burn 
the  dead,  as  of  old;  and  that  is  no 
longer  done.  ...  I  shall  leave  you 
alone  with  Mytyl.  .  .  . 
205 


The  Blue  Bird 

Tyltyl 
And  may  not  Tylo  stay  with  us?  .    .    . 

The  Dog 
Yes,  yes,  I  shall  stay;  I  shall  stay  here !  .  .  . 
I  want  to  stay  with  my  little  god !  .  .  . 
Light 
It  is  impossible.    .    .     .    The   Fairy  gave 
formal   orders;   besides,    there   is   no- 
thing to  fear.   .    .    . 
The  Dog 
Very  well,  very  well,  it  makes  no  difference. 
If  they  are  vicious,  my  little  god,  all 
you    have    to    do    is    this   .    .    .    (he 
whistles)   and  you  shall  see.  ...   It 
will  be  just  as  in  the  forest :     Wow ! 
Wow!    Wow!  .   .  . 
Light 
Come,  good-bye,  dear  children.  ...  I  shall 
not  be  far  away.  .   .   .   (She  kisses  the 
Children.)     Those  who  love  me  and 
whom  I  love  always  find  me  again.  .  .  . 
(To  the  Things  and  the  Animals) 
This  way,  all  of  you.  .   .   . 

(She  goes  out  with  the  Things 
and    the    Animals.      The 
206 


The   Blue  Bird 

Children  remain  alone  in 
the  middle  of  the  stage. 
The  curtain  opens  and  dis- 
closes the  next  scene.) 

Scene  2. — The  Graveyard. 

It  is  night.  The  moon  is  shining  on  a  coun- 
try graveyard. .  Numerous  tomb- 
stones, grassy  mounds,  wooden  crosses, 
stone  slabs,  etc.  TYLTYL  and  MYTYL 
are  standing  by  a  short  stone  pillar. 

Mytyl 
I  am  frightened !  .   .   . 

Tyltyl  {not  too  much  at  his  ease) 
I  am  never  frightened.  .   .   . 

Mytyl 
I  say,  are  the  dead  wicked?  .    .    . 

Tyltyl 
Why,  no,  they're  not  alive!   .    .    . 

Mytyl 
Have  you  ever  seen  one  ?  .    .    . 

Tyltyl 
Yes,    once,    long    ago,    when    I    was   very 
young.  .    .   . 

207 


The  Blue  Bird 

Mytyl 
What  was  it  like,  say?  .    .    . 

Tyltyl 
Quite  white,  very  still  and  very  cold  and  it 
didn't  talk.  .   .   . 

Mytyl 
Are  we  going  to  see  them,  say?  .    .   . 

Tyltyl 
Why,  of  course,  Light  said  so.  .   .   . 

Mytyl 
Where  are  they?  .    .    . 

Tyltyl 
Here,  under  the  grass  or  under  those  big 
stones.  .   .  . 

Mytyl 
Are  they  there  all  the  year  round  ?  .   .   . 

Tyltyl 
Yes. 

Mytyl  (pointing  to  the  slabs) 
Are  those  the  doors  of  their  houses?  .  .   „, 

Tyltyl 
Yes. 

Mytyl 
Do  they  go  out  when  it's  fine  ?  .  .  . 

208 


The  Blue  Bird 

Tyltyl 
They  can  only  go  out  at  night.  .  .  .. 

Mytyl 
Why?  .  .  . 

Tyltyl 
Because  they  are  in  their  shirts.  .   .   . 

Mytyl 
Do  they  go  out  also  when  it  rains?  .   .   e 

Tyltyl 
When  it  rains,  they  stay  at  home.  .    .    . 

Mytyl 
Is  it  nice  in  their  homes,  say?  .    .    . 

Tyltyl 
They  say  it's  very  cramped.  .   .   . 

Mytyl 
Have  they  any  little  children?  .   .   . 

Tyltyl 
Why,  yes ;  they  have  all  those  that  die.  .  •  . 

Mytyl 
And  what  do  they  live  on?   .    .    . 

Tyltyl 
They  eat  roots.  .  .  . 

Mytyl 
Shall  we  see  them?  .   .   . 

209 


The  Blue  Bird 

Tyltyl 
Of  course;  we  see  everything  when  I  turn 
the  diamond. 

Mytyl 
And  what  will  they  say?  .    .   . 

Tyltyl 
They    will    say    nothing,    as    they    don't 
talk.  .   .   . 

Mytyl 
Why  don't  they  talk  ?  .   .   . 

Tyltyl 
Because  they  have  nothing  to  say.  .   .   . 

Mytyl 
Why  have  they  nothing  to  say?  .    .    . 

Tyltyl 
You're  a  nuisance.  .    .    . 

(A  pause) 
Mytyl 
When  will  you  turn  the  diamond  ? 

Tyltyl 
You  heard  Light  say  that  I  was  to  wait  until 
midnight,  because  that  disturbs  them 
less.  .    .    . 

Mytyl 
Why  does  that  disturb  them  less  ?  .   .   . 

210 


The  Blue  Bird 

Tyltyl 
Because  that  is  when  they  go  out  to  take  the 
air.  .   .   . 

Mytyl 
Is  it  not  midnight  yet?  .    .    . 

Tyltyl 
Do  you  see  the  church  clock?  .   .   . 

Mytyl 
Yes,  I  can  even  see  the  small  hand.  .    .   . 

Tyltyl 

Well,  midnight  is  just  going  to  strike.  .   .   . 

There!  .  .   .  Do  you  hear?  .  .  . 

( The  clock  strikes  twelve) 
Mytyl 
I  want  to  go  away !  .  .  . 

Tyltyl 
Not  now.  ...  I  am  going  to  turn  the  dia- 
mond. .    .    . 

Mytyl 
No,  no!  .    .    .  Don't!   ...  I  want  to  go 
away!  .    .    .  I  am  so  frightened,  little 
brother!    .    .    .   I  am  terribly  fright- 
ened! .    .   . 

Tyltyl 
But  there  is  no  danger.  .    .    . 

21  I 


The  Blue  Bird 

Mytyl 
I  don't  want  to  see  the  dead !  .   .   .  I  don't 
want  to  see  them !   .    .    . 
Tyltyl 
Very  well,  you  shall  not  see  them;  shut  your 
eyes.  .    .    . 
Mytyl  (clinging  to  Tyltyl' s  clothes) 
Tyltyl,  I  can't  stay!  .    .   .  No,  I  can't  pos- 
sibly!  .    .    .  They  are  going  to  come 
out  of  the  ground !  .   .   . 

Tyltyl 

Don't  tremble  like  that.    .    .    .    They  will 

only  come  out  for  a  moment.  .    .    . 

Mytyl 

But  you're  trembling,  too !  .    .   .  They  will 

be  awful !  .    .   . 

Tyltyl 
It  is  time,  the  hour  is  passing.  .   .   . 

(Tyltyl  turns  the  diamond.  A 
terrifying  minute  of  silence 
and  motionlessness  elapses, 
after  which,  slowly,  the 
crosses  totter,  the  mounds 
open,  the  slabs  rise  up.  .  .  .) 

212 


The  Blue  Bird 

Mytyl  (cowering  against  Tyltyl) 
They   are  coming  out !    .     .     .    They  are 
there !  .    .    . 

( Then,  from  all  the  gaping 
tombs,  there  rises  gradually 
an  efflorescence  at  first  frail 
and  timid,  like  steam;  then 
zvhite  and  virginal  and 
more  and  more  tufty,  more 
and  more  tall  and  plentiful 
and  marvellous.  Little  by 
little,  irresistibly,  invading 
all  things,  it  transforms  the 
graveyard  into  a  sort  of 
fairy-like  and  nuptial  gar- 
den, over  which  rise  the  first 
rays  of  the  dawn.  The  dew 
glitters,  the  flowers  open 
their  blooms,  the  wind  mur- 
murs in  the  leaves,  the  bees 
hum,  the  birds  wake  and 
flood  the  air  with  the  first 
raptures  of  their  hymns  to 
the  sun  and  to  life.  Stunned 
and  dazzled.  Tyltyl  and 
213 


The  Blue  Bird 

Mytyl,  holding  each  other 
by  the  hand,  take  a  few  steps 
among  the  flowers  while 
they  seek  for  the  trace  of 
the  tombs.) 
Mytyl  {looking  in  the  grass) 
Where  are  the  dead?  .    .    . 

Tyltyl  (looking  also) 
There  are  no  dead.  .    .    . 

CURTAIN 

Scene  3. — The  Kingdom  of  the  Future. 

The  immense  halls  of  the  Azure  Palace, 
where  the  children  wait  that  are  yet  to 
be  born.  Infinite  perspectives  of  sap- 
phire columns  supporting  turquoise 
vaults.  Everything,  from  the  light 
and  the  lapis-lazuli  flagstones  to  the 
shimmering  background  into  which  the 
last  arches  run  and  disappear,  every- 
thing, down  to  the  smallest  objects,  is 
of  an  unreal,  intense,  fairy-like  blue. 
Only  the  plinths  and  capitals  of  the 
columns,  the  key-stones,  a  few  seats 
214 


The  Blue   Bird 

and  circular  benches  are  of  white  mar- 
ble or  alabaster.  To  the  right,  be- 
tween the  columns,  are  great  opales- 
cent doors.  These  doors,  which  Time 
will  throw  back  towards  the  end  of  the 
scene,  open  upon  actual  life  and  the 
quays  of  the  Dawn.  Everywhere, 
harmoniously  peopling  the  hall,  is  a 
crowd  of  Children  robed  in  long 
azure  garments.  Some  are  playing, 
others  strolling  to  and  fro)  others  talk- 
ing or  dreaming;  many  are  asleep, 
many  also  are  working,  between  the 
colonnades,  at  future  inventions;  and 
their  tools,  their  instruments,  the  ap- 
paratus which  they  are  constructing, 
the  plants }  flowers  and  fruit  which 
they  are  cultivating  or  plucking  are  of 
the  same  supernatural  and  luminous 
blue  as  the  general  atmosphere  of  the 
Palace.  Figures  of  a  taller  stature, 
clad  in  a  paler  and  more  diaphanous 
azure,  figures  of  a  sovereign  and  silent 
beauty  move  among  the  CHILDREN 
and  would  seem  to  be  angels, 

2IC 


The  Blue  Bird 

Enter  on  the  left,  as  though  by  stealth, 
gliding  between  the  columns  in  the 
foreground,  Tyltyl,  Mytyl  and 
Light.  Their  arrival  causes  a  cer- 
tain movement  among  the  Blue 
Children,  who  come  running  up  on 
every  hand,  form  a  group  around  the 
unwonted  visitors  and  gaze  upon  them 
with  curiosity. 

Mytyl 
Where  are  Sugar,  the  Cat  and  Bread?  .  .  . 

Light 
They  cannot  enter  here;  they  would  know 
the  future  and  would  not  obey.  .    .   . 
Tyltyl 
And  the  Dog  ?  .   .   . 

Light 
It  is  not  well,  either,  that  he  should  know 
what  awaits  him  in  the  course  of  the 
ages.  ...  I  have  locked  them  all  up 
in  the  vaults  of  the  church.  .   .   . 
Tyltyl 
Where  are  we?  .  .  . 

Light 
We  are  in  the  Kingdom  of  the  Future,  in 

216 


The  Blue  Bird 

the  midst  of  the  children  who  are  not 
yet  born.  As  the  diamond  allows  us 
to  see  clearly  in  this  region  which  is 
hidden  from  men,  we  shall  very  prob- 
ably find  the  Blue  Bird  here.  .   .   . 

Tyltyl 

Certainly  the  bird  will  be  blue,  since  every- 
thing here  is  blue.  .  .  .  (Looking  all 
around  him.)  Heaven,  how  beautiful 
it  all  is !   .    .    . 

Light 
Look  at  the  children  running  up.  .   .   . 

Tyltyl 
Are  they  angry?  .   .   . 

Light 
Not  at  all.    .    .    .   You  can  see,  they  are 
smiling,  but  they  are  surprised.  .    .    . 
The   Blue    Children    (running   up   in 

ever-increasing  numbers) 
Live  children !  .   .   .  Come  and  look  at  the 
little  live  children!    .    .    . 

Tyltyl 
Why  do  they  call  us  the  little  live  children? 

217 


The  Blue  Bird 

Light 
Because    they    themselves    are    not   alive 
yet.  .    .    . 

Tyltyl 
What  are  they  doing,  then?  .   .   . 

Light 
They    are    awaiting    the    hour    of    their 
birth.  .    .    . 

Tyltyl 
The  hour  of  their  birth?  .    .   . 

Light 
Yes;    it  is  from  here  that  all  the  children 
come  who  are  born  upon  our  earth. 
Each  awaits  his  day.  .    .    .  When  the 
fathers   and   mothers   want    children, 
the  great  doors  which  you  see  there, 
on  the  right,  are  opened  and  the  little 
ones  go  down.  .   .   . 
Tyltyl 
What  a  lot  there  are!     What  a  lot  there 
are!    .    .    . 

Light 
There  are  many  more.  .   .   .  We  do  not  see 
them   all.    .     .     .    There    are    thirty 
thousand  halls   like  this,   all   full   of 
218 


The  Blue  Bird 

them.  .  .  .  Just  think,  there  are 
enough  to  last  to  the  end  of  the 
world !  .  .  .  No  one  could  count 
them.  .   .   . 

Tyltyl 
!And    those    tall    blue    persons,    who    are 
they?  .    .    . 

Light 
No  one  exactly  knows.  .    .    .  They  are  be- 
lieved to  be  guardians.   ...   I  have 
heard  that  they  will  come  upon  earth 
after  men.    .    .    .   But  we  are  not  al- 
lowed to  ask  them.  .    .    . 
Tyltyl 
Why  not  ?  .   .  . 

Light 
Because  it  is  the  earth's  secret.  .    .    . 

Tyltyl 
And  may  one  talk  to  the  others,  the  little 
ones?  .   .   . 

Light 
Certainly;  you  must  make  friends.    .    .    . 
Look,  there  is  one  who  is  more  curi- 
ous than  the  rest.  .   .    .  Go  up  to  him, 
speak  to  him.   .    .    . 

2IC 


The  Blue   Bird 

Tyltyl 
What  shall  I  say  to  him?  .    .    . 

Light 
Whatever  you  like,  as  you  would  to  a  little 
playfellow.  .    .    . 

Tyltyl 
Can  I  shake  hands  with  him?  .   .   . 

Light 
Of  course,  he  won't  hurt  you.  .  .  . 
But  come,  don't  look  so  constrained. 
...  I  will  leave  you  alone,  you  will 
be  more  at  ease  by  yourselves.  .  .  . 
Besides,  I  want  to  speak  to  the  tall 
blue  person.  .  .  . 
Tyltyl   (going  up  to  the  Blue  Child 

and  holding  out  his  hand) 
How  do  you  do?   .    .    .    (Touching  the 
Child's  blue  dress  with  his  finger.) 
What's  that?  .   .   . 
The  Child  (gravely  touching  Tyltyl's 

hat) 
And  that?  .   .   . 

Tyltyl 
That?  .    .    .  That  is  my  hat.  .    .    .  Have 
you  no  hat?  .   .   . 
220 


The  Blue  Bird 

The  Child 
No;  what  is  it  for?  .    .    . 

Tyltyl 
It's  to  say  How-do-you-do  with.  .  .   .  And 
then  for  when  it  rains  or  when  it's 
cold.  .  .   . 

The  Child 
What  does  that  mean,  when  it's  cold?  .   .  . 

Tyltyl 
When  you  shiver  like  this:  brrrr!  brrrrl 
.  .  .  When  you  blow  into  your  hands 
and  go  like  this  with  your  arms.  .  .  . 
(He  vigorously  beats  his  arms  across 
his  chest.) 

The  Child 
Is  it  cold  on  earth?   .    .    . 

Tyltyl 
Yes,  sometimes,  in  the  winter,  when  there 
is  no  fire.  .   .    . 

The  Child 
Why  is  there  no  fire?  .    .    . 

Tyltyl 
Because  it's  expensive  and  it  costs  money 
to  buy  wood.  .    .    . 
221 


The  Blue  Bird 

The  Child 
What  is  money?   .    .    . 

Tyltyl 
It's  what  you  pay  with.  .    .    . 

The  Child 
Oh.  .  .  . 

Tyltyl 
Some  people  have  money  and  others  have 
none.  .    .    . 

The  Child 
Why  not?  .   .    . 

Tyltyl 
Because  they  are  not  rich.   .    .    .  Are  you 
rich?  .    .    .  How  old  are  you?  .    .    . 
The  Child 
I  am  going  to  be  born  soon.  ...  I  shall 
be  born  in  twelve  years.   .    .    .   Is  it 
nice  to  be  born?  .   .   . 
Tyltyl 
Oh,  yes!  .    .    .  It's  great  fun!  .    .   . 

The  Child 
How  did  you  manage?  .    .    . 

Tyltyl 
I  can''t  remember.    .    .    .    It  is  so   long 
ago":  .  ,  , 


The  Blue  Bird 

The  Child 
They  say  it's  lovely,  the  earth  and  the  live 
people !   .    .    . 

Tyltyl 

Yes,  it's  not  bad.  .  .  .  There  are  birds  and 
cakes  and  toys.  .  .  .  Some  have  them 
all ;  but  those  who  have  none  can  look 
at  them.  .    .    . 

The  Child 
They    tell    us    that    the    mothers    stand 
waiting  at  the  door.   .    .    .   They  are 
good,  aren't  they?  .    .   . 

Tyltyl 

Oh,  yes!  .  .  .  They  are  better  than  any- 
thing in  the  world!  .  .  .  And  the 
grannies  too;  but  they  die  too 
soon.  .   .    . 

The  Child 

They  die?  .    .    .  What  is  that?  .    .    . 

Tyltyl 
They  go  away  one  evening  and   do  not 
come  back.  .   .   . 

The  Child 
Why?  .    .    . 

223 


The  Blue  Bird 

Tyltyl 
How  can  one  tell?  .    .    .  Perhaps  because 
they  feel  sad.  .   .  . 

The  Child 
Has  yours  gone  ?  .  .   . 

Tyltyl 

My  grandmamma  ?  .   .   . 

The  Child 
Your   mamma    or   your    grandmamma,    I 
don't  know.  .    .    . 

Tyltyl 
Oh,  but  it's  not  the  same  thing !  .    .    .  The 
grannies  go  first;  that's  sad  enough. 
.  .  .  Mine  was  very  kind  to  me.  .  .  . 

The  Child 
What  is  the  matter  with  your  eyes?  .    .    . 
Are  they  making  pearls?  .    .    . 
Tyltyl 
No;  it's  not  pearls.  .    .    . 

The  Child 
What  is  it,  then  ?  .   .   . 

Tyltyl 
It's    nothing;    it's    all    that    blue,    which 
dazzles  me  a  little.  .    .    . 
224 


The  Blue  Bird 

The  Child 
What  is  that  called?  .    .    . 

Tyltyl 
What?  .   .   . 

The  Child 
There,  that,  falling  down.   .    .    . 

Tyltyl 
Nothing,  it  is  a  little  water.  .    .    . 

The  Child 
Does  it  come  from  the  eyes?  .   .   . 

Tyltyl 
Yes,  sometimes,  when  one  cries.  .   .   . 

The  Child 
What  does  that  mean,  crying?  .    .    . 

Tyltyl 
I  have  not  been  crying;  it  is  the  fault  of 
that  blue.    .    .   But  if  I  had  cried,  it 
would  be  the  same  thing.  .   .    . 
The  Child 
Does  one  often  cry?  .    .    . 
Tyltyl 
Not  little  boys,  but  little  girls  do.   .    .    . 
Don't  you  cry  here?  .    .    . 
The  Child 
No;  I  don't  know  how.  .    .    . 

225 


The  Blue  Bird 

Tyltyl 
Well,  you  will  learn.  .    .    .  What  are  you 
playing      with,      those      great      blue 
wings?   .    .    . 

The  Child 

These?    .    .    .    That's  for  the  invention 

which  I  shall  make  on  earth.  .    .    . 

Tyltyl 

What  invention?  .    .    .  Have  you  invented 

something?   .    .    . 

The  Child 
Why,  yes;  haven't  you  heard?  .   .   .  When 
I  am  on  earth,  I  shall  have  to  invent 
the  thing  that  gives  happiness.   .    .    . 
Tyltyl 
Is  it  good  to  eat?   .    .    .   Does  it  make  a 
noise?  .    .    . 

The  Child 
No ;  you  hear  nothing.  .  .  . 

Tyltyl 
That's  a  pity.  .    .    . 

The  Child 
I  work  at  it  every  day.  .    .    .  It  is  almost 
finished.  .    .   .  Would  you  like  to  see 
it?  .   .   . 

226 


The  Blue  Bird 

Tyltyl 
Very  much.  .   .   .  Where  is  it  ?  .   .   . 

The  Child 
There,  you  can  see  it  from  here,  between 

those  two  columns.  .    .    . 
Another  Blue  Child    (coming  up  to 

Tyltyl  and  plucking  his  sleeve) 
Would  you  like  to  see  mine,  say?  .    .    . 

Tyltyl 
Yes,  what  is  it?  .    .    . 

The  Second  Child 
The  thirty-three  remedies   for  prolonging 
life.     .     .     .     There,    in    those    blue 
phials.   .    .    . 

A  Third  Child  (stepping  out  from  the 
crowd) 

I  will  show  you  a  light  which  nobody 
knows  of!  .  .  .  (He  lights  himself 
up  entirely  with  an  extraordinary 
flame.)  It's  rather  curious,  isn't 
it?  .    .    . 

A    Fourth    Child    (pulling    Tyltyl's 

arm) 

Do  come  and  look  at  my  machine  which 

227 


The  Blue  Bird 

flies  in   the   air  like   a   bird  without 
wings !    .    .    . 

A  Fifth  Child 
No,  no;  mine  first!     It  discovers  the  treas- 
ures hidden  in  the  moon !  .    .    . 
The  Blue  Children    {crowding  round 
Tyltyl  and  Mytyl  and  all  crying  to- 
gether) 
No,  no,  come  and  see  mine !  .   .  .  No,  mine 
is  much  finer!   .    .    .   Mine  is  a  won- 
derful invention !  .    .    .  Mine  is  made 
of  sugar!  .   .   .  His  is  no  good!  .   .   . 
He  stole  the  idea  from  me!  .    .    . 

{Amid  these  disordered  excla- 
mations, the  Live  Chil- 
dren are  dragged  towards 
the  blue  workshops,  where 
each  of  the  inventors  sets 
his  ideal  machine  going. 
There  ensues  a  cerulean 
whirl  of  wheelsf  disks,  fly- 
wheels, driving-wheels,  pul- 
leys, straps  and  strange  and 
as  yet  unnamed  objects 
shrouded  in  the  bluey  mists 
228 


The  Blue   Bird 

of  the  unreal.  A  crowd  of 
odd  and  mysterious  mechan* 
isms  dart  forth  and  hover 
under  the  vaults  or  crawl 
at  the  foot  of  the  columns, 
while  Children  unfold 
charts  and  plans,  open 
books,  uncover  azure  stat- 
ues and  bring  enormous 
flowers  and  gigantic  fruits 
that  seem  formed  of  sap- 
phires and  turquoises.) 

A  Little  Blue  Child  {bending  under 
the  weight  of  some  colossal  blue 
daisies ) 

Look  at  my  flowers !  .   .   . 

Tyltyl 
What     are     they?   ...   I     don't     know 
them.  .    .    . 

The  Little  Blue  Child 
They  are  daisies !   .    .    . 

Tyltyl 
Impossible !    .    .    .   They    are    as     big    as 
tables !  .   .    . 

229 


The  Blue  Bird 

The  Little  Blue  Child 
And  they  smell  so  good !   .    .    . 

Tyltyl    (smelling  them) 
Wonderful!   .    .    . 

The  Little  Blue  Child 
They  will  grow  like  that  when  I  am  on 
earth.  .  .   . 

Tyltyl 
When  will  that  be  ?  .    .    . 

The  Little  Blue  Child 
In  fifty-three  years,  four  months  and  nine 
days.  .   .   . 

(Two  Blue  Children  arrive> 
carrying,  like  a  lustre  hang- 
ing on  a  pole,  an  incredible 
bunch  of  grapes,  each  larger 
than  a  pear.) 

One   of   the    Children    (carrying   the 

grapes ) 
What  do  you  say  to  my  fruits?  .   .   . 

Tyltyl 
A  bunch  of  pears!    .    .    . 

The  Child 
No,  they  are  grapes !   .    .    .  They  will  alJ 

230 


The  Blue  Bird 

be  like  that  when  I  am  thirty.  ...  I 

have  found  the  way.  .   .   . 
Another    Child     {staggering    under    a 

basket    of    blue    apples    the    size    of 

melons) 
And  mine !  .   .   .  Look  at  my  apples !  .   .   . 

Tyltyl 
But  those  are  melons !    .    .    . 

The  Child 

No,  no !  .  .  .  They  are  my  apples  and  they 
are  not  the  finest  at  that !  .  .  .  They 
will  all  be  alike  when  I  am  alive.  .  .  . 
I  have  discovered  the  system  !  .   .   . 

Another  Child  {wheeling  a  blue  bar- 
row with  blue  melons  bigger  than 
pumpkins) 

What  do  you  say  to  my  little  melons  ?  .   .   . 

Tyltyl 
But  they  are  pumpkins !  .    .    . 

The  Child  with  the  Melons 
When  I  come  on  earth,  the  melons  will  be 
splendid !  .   .   .  I  shall  be  the  garden- 
er   of     the     King    of     the     Three 
Planets.  .   .  . 

211 


The  Blue   Bird 

Tyltyl 
The  King  of  the  Three  Planets? 

The  Child  with  the  Melons 
The  great  king  who  for  thirty-five  years 
will   bring    happiness   to    the    Earth, 
Mars  and  the  Moon.  .    .    .  You  can 
see  him  from  here.  .   .  . 

Tyltyl 

Where  is  he?  .   .   . 

The  Child  with  the  Melons 
There,  the  little  boy  sleeping  at  the  foot  of 
that  column. 

Tyltyl 
On  the  left?  .   .    . 

The  Child  with  the  Melons 
No,  on  the  right.  .   .   .  The  one  on  the  left 
is  the  child  who  will  bring  pure  joy 
to  the  globe.  .    .    . 

Tyltyl 
How?  .   .   . 
The  Child  {the  one  that  first  talked  to 

Tyltyl) 
By  means  of  ideas  which  people  have  not 
yet  had.  .   .   . 

232 


The  Blue  Bird 

Tyltyl 
And  the  other,  that  little  fat  one  with  his 
fingers    to    his    nose,    what    will    he 
do?  .   .   . 

The  Child 
He  is  to  discover  the  fire  that  will  warm 
the  earth  when  the  sun  is  paler  than 
now.  .   .   . 

Tyltyl 
And  the  two  holding  each  other  by  the 
hand   and   always  kissing;    are   they 
brother  and  sister?  .    .    . 
The  Child 
No ;  they  are  very  comical.  .   .   .  They  are 
the  Lovers.  .   .   . 

Tyltyl 
What  is  that?  .    .    . 

The  Child 
I  don't  know.  .    .    .  Time  calls  them  that, 
to  make  fun  of  them.    .    .    .    They 
spend    the    day    looking    into    each 
other's  eyes,  kissing  and  bidding  each 
other  farewell.  .    .    . 
Tyltyl 
Why?  .  .  . 

233 


The  Blue  Bird 

The  Child 
It  seems  that  they  will  not  be  able  to  leave 
together.   .    .    . 

Tyltyl 
And    the    little    pink    one,    who   looks    so 
serious    and    is    sucking    his    thumb, 
what  is  he?  .   .   . 

The  Child 
It  appears  that  he  is  to  wipe  out  injustice 
from  the  earth.   .    .    . 

Tyltyl 
Oh! .  .  . 

The  Child 
They  say  it's  a  tremendous  work.  .   .  „ 

Tyltyl 

And  the  little  red-haired  one,  who  walks  as 
if  he  did  not  see  where  he  was  going, 
is  he  blind  ?  .    .    . 

The  Child 
Not  yet;  but  he  will  become  so.  .    .   .  Look 
at  him  well ;  it  seems  that  he  is  to  con- 
quer Death.   .    .    . 

Tyltyl 

What  does  that  mean?  .    .   . 

234 


The  Blue  Bird 

The  Child 
I  don't  exactly  know;  but  they  say  it's  a 

great  thing.  .  .  . 
Tyltyl  (pointing  to  a  crowd  of  Chil- 
dren sleeping  at  the  foot  of  the 
columns,  on  the  steps,  the  benches, 
etc.) 
And  all  those  asleep,  what  a  number  of 
them  there  are  asleep !  .  .  .  Do  they 
do  nothing?  .    .    . 

The  Child 
They  are  thinking  of  something.   .    .    . 

Tyltyl 
Of  what?  .   .   . 

The  Child 
They  do  not  know  yet ;  but  they  must  take 
something   with   them    to   earth;   we 
are  not  allowed  to  go  from  here  emp- 
ty-handed. .   .   . 

Tyltyl 
Who  says  so  ?  .  .  . 

The  Child 
Time,  who  stands  at  the  door.  .    .    .  You 
will  see  when  he  opens  it.  .    .   .  He  is 
very  tiresome.  .   .  • 
235 


The  Blue  Bird 

A  Child  (running  up  from  the  back  of  the 

hall  and  elbowing  his  way  through  the 

crowd) 
How  are  you,  Tyltyl?  .   .   . 

Tyltyl 
Hullo!    .    .    .  How    does    he    know    my 

name?  .    .    . 
The  Child    (who  has  just  run  up  and 

who  now  kisses  Tyltyl  and  Mytyi 

effusively.) 

How  are  you?  .  .  .  All  right?  .  .  .  Come, 
give  me  a  kiss,  and  you  too,  Mytyl. 
It's  not  surprising  that  I  should  know 
your  name,  seeing  that  I  shall  be  your 
brother.  .  .  .  They  have  only  just 
told  me  that  you  were  here.  ...  I 
was  right  at  the  other  end  of  the  hall, 
packing  up  my  ideas.  .  .  .  Tell 
mummy  that  I  am  ready.  .  .  . 
Tyltyl 

What?  .   .   .  Are  you  coming-  tc  us?  .   .   . 
The  Child 

Certainly,  next  year,  on  Palm  Sunday.  .  .   . 
Don't  tease  me  too  much  when  I  am 
little.   ...   I  am  very  glad  to  have 
236 


The  Blue  Bira 

kissed  you  both  beforehand.  .  .  . 
Tell  daddy  to  mend  the  cradle.  .  .  . 
Is  it  comfortable  in  our  home?  .  .  . 
Tyltyl 
Not  bad.  .  .  .  And  mummy  is  so 
kind!   .    .    . 

The  Child 
And  the  food?  .   .   . 

Tyltyl 
That  depends.   .    .    .  We  even  have  cakes 
sometimes,  don't  we,  Mytyl?  .    .    . 
Mytyl 
On  New  Year's  Day  and  the  fourteenth  o^ 
July.  .  .  .  Mummy  makes  them.  .  .  . 
Tyltyl 
What  have  you  got  in  that  bag?  .   .   .  Are 
you  bringing  us  something?  .    <.    . 
The  Child 
I  am  bringing  three  illnesses:     scarlatina, 
whooping-cough  and  measles.    .    .    . 
Tyltyl 
Oh,  that's  all,  is  it?  .    .    .  And,  after  that, 
what  will  you  do?  .    .    . 
The  Child 
After  that?  ...  I  shall  leave  you.  .    .    . 

237 


The  Blue  Bird 

Tyltyl 
It  will  hardly  be  worth  while  coming!  .  .  . 

The  Child 
[We  can't  pick  and  choose !  .   .   . 

(At  that  moment,  a  sort  of  pro- 
longed, powerful,  crystal- 
line vibration  is  heard  to 
rise  and  swell;  it  seems  to 
emanate  from  the  columns 
and  the  opal  doors,  which 
are  irradiated  by  a  brighter 
light  than  before.) 
Tyltyl 
What  is  that?   .    .    . 

The  Child 
That's  Time !  .  .  .  He  is  going  to  open  the 
gates !  .  .  . 

(A  great  change  comes  over  the 
crowd  of  Blue  Children. 
Most  of  them  leave  their 
machines  and  their  labours, 
numbers  of  sleepers  awake 
and  all  turn  their  eyes 
towards  the  opal  doors  and 
go  nearer  to  them.) 
238 


The  Blue  Bird 

Light    (joining  Tyltyl) 
Let  us  try  to  hide  behind  the  columns.  .   .   . 
It  will  not  do  for  Time  to  discover 
us.  .   .   . 

Tyltyl 
Where  does  that  noise  come  from?  .    .    . 

A  Child 
It  is  the  Dawn  rising.    .    .    .    This  is  the 
hour  when  the  children  who  are  to  ba 
born  to-day  go  down  to  earth.   .    .    . 
Tyltyl 
How  will  they  go  down?  .    .    .  Are  there 
ladders?  .    .    . 

The  Child 
You  shall  see.  .    .    .  Time  is  drawing  the 
bolts.  .    .    . 

Tyltyl 
Who  is  Time?  .    .    . 

The  Child 
An  old  man  who  comes  to  call  those  who 
are  going.  .    .    . 

Tyltyl 
Is  he  wicked?  .    .    . 

The  Child 
No;  but  he  hears  nothing.   .    .    .   Beg  as 

2}9 


The  Blue  Bird 

they  may,  if  it's  not  their  turn,  he 
pushes  back  all  those  who  try  to 
go.  .    .    . 

Tyltyl 

Are  they  glad  to  go?  .    .    . 
The  Child 
We  are  sorry  when  we  are  left  behind,  but 

we  are  sad  when  we  go.  .   .   .  There ! 

There!    .    .    .   He     is     opening     the 

doors!  .    .   . 

( The  great  opalescent  doors 
turn  slowly  on  their  hinges. 
The  sounds  of  the  earth 
are  heard  like  a  distant  mu- 
sic. A  red  and  green  light 
penetrates  into  the  hall; 
Time,  a  tall  old  man  with 
a  streaming  heard,  armed 
with  his  scythe  and  hour- 
glass, appears  upon  the 
threshold;  and  the  spectator 
perceives  the  extremity  of 
the  white  and  gold  sails  of  a 
galley  moored  to  a  sort  of 
240 


The  Blue  Bird 

quay,   formed  by   the  rosy 
mists  of  the  Dawn.) 
Time    {on   the  threshold) 

Are  they  ready  whose  hour  has  struck?.  .  . 

Blue  Children  {elbowing  their  way  and 
running  up  from  all  sides) 

Here  we  are !    .    .    .   Here  we  are !   .    .    . 
Here  we  are!  .    .    . 

Time   {in  a  gruff  voice  to  the  Children 
defiling  before  him  to  go  out) 

One  at  a  time !  .  .  .  Once  again,  there  are 
many  more  of  you  than  are  wanted! 
.  .  .  It's  always  the  same  thing !  .  .  . 
You  can't  deceive  me !  .  .  .  {Pushing 
back  a  Child.)  It's  not  your  turn! 
.  .  .  Go  back  and  wait  till  to-morrow. 
.  .  .  Nor  you  either;  go  in  and  re- 
turn in  ten  years.  ...  A  thirteenth 
shepherd  ?  .  .  .  There  are  only  twelve 
wanted ;  there  is  no  need  for  more ;  the 
days  of  Theocritus  and  Virgil  are  past. 
.  .  .  More  doctors?  .  .  .  There  are 
too  many  already;  they  are  grumbling 
about  it  on  earth.  .  .  .  And  where  are 
the  engineers?   .    .    .   They  want  an 

1  A  T 


The  Blue  Bird 

honest  man,  only  one,  as  a  phenome- 
non. .  .  .  Where  is  the  honest  man? 
.  .  .  Is  it  you?  .  .  .  (The  Child 
nods  yes.)  You  appear  to  me  to  be  a 
very  poor  specimen !  .  .  .  Hallo,  you, 
over  there,  not  so  fast,  not  so  fast !  . .  . 
And  you,  what  are  you  bringing?  .  .  . 
Nothing  at  all,  empty-handed?  .  .  . 
Then  you  can't  go  through.  .  .  .  Pre- 
pare something,  a  great  crime,  if  you 
like,  or  a  fine  sickness,  I  don't  care 
.  .  .but  you  must  have  something.  .  .  . 
(Catching  sight  of  a  little  Child 
whom  the  others  are  pushing  forward, 
while  he  resists  with  all  his  strength.) 
Well,  what's  the  matter  with  you  ?  .  .  . 
You  know  that  the  hour  has  come.  .  .  . 
They  want  a  hero  to  fight  against  in- 
justice; you're  the  one;  you  must 
start.  .    .    . 

The  Blue  Children 

He  doesn't  want  to,  sir.  .    .    . 

Time 

What?   .    .    .  He  doesn't  want  to?  .    .    . 
Where  does  the  little  monster  think  he 
242 


The  Blue  Bird 

is?  .    .    .   No  objections,  we  have  no 
time  to  spare.   .    .    . 
The  Child  (who  is  being  pushed) 

No,  no !  .    .    .1  don't  want  to  go  1  .    .    .1 
would  rather  not  be  born!    ...    I 
would  rather  stay  here !  .   .   . 
Time 

That  is  not  the  question.   .    .    .  When  the 
hour  comes,  it  comes !  .  .  .  Now  then, 
quick,  forward!   .    .    . 
A  Child   (stepping  forward) 

Oh,  let  me  pass !  .  .  .  I  will  go  and  take  his 
place !  .  .  .  They  say  that  my  parents 
are  old  and  have  been  waiting  for  me 
so  long !  .    .    . 

Time 

None  of  that!  .  .  .  You  will  start  at  your 
proper  hour,  at  your  proper  time.  .  .  . 
We  should  never  be  done  if  we  lis- 
tened to  you.  .  .  .  One  wants  to  go, 
another  refuses ;  it's  too  soon  or  it's  too 
late.  .  .  .  (Pushing  back  some  Chil- 
dren who  have  encroached  upon  the 
threshold.)  Not  so  near,  you  chil- 
dren !  .  .  .  Back,  you  inquisitive  onea ! 
243 


The   Blue   Bird 

.  .  .  Those  who  are  not  starting  have 
no  business  outside.  .  .  .  You  are  in  a 
hurry  now;  later,  when  your  turn 
comes,  you  will  be  frightened  and 
hang  back.  .  .  .  Look,  there  are  four 
who  are  trembling  like  leaves.  .  .  . 
{To  a  Child  who,  on  the  point  of 
crossing  the  threshold,  suddenly  goes 
back.)  Well,  what  is  it?  .  .  . 
What's  the  matter?  .  .  . 
The  Child 

I  have  forgotten  the  box  containing  the  two 
crimes  which  I  shall  have  to  com- 
mit.  .    .    . 

Another  Child 

And  I  the  little  pot  with  my  idea  for  en- 
lightening the  crowd.  .    .    . 
A  Third  Child 

I  have  forgotten  the  graft  of  my  finest 
pear!   .    .    . 

Time 

Run  quick  and  fetch  them !  .   .   .  We  have 
only  six  hundred  and  twelve  seconds 
left.  .  .  .The  galley  of  the  Dawn  is  al- 
ready flapping  her  sails  to  show  that 
244 


The   Blue   Bird 

she  is  waiting.  .   .   .  You  will  come  too 
late  and  you  won't  be  born!    .    .    . 
Come,  quick,  on  board  with  you !  .  .  . 
(Laying  hold  of  a  Child  who  tries  to 
pass   between   his   legs    to    reach    the 
quay.)     Oh,  no,  not  you !   .    .    .  This 
is  the  third  time  you've  tried  to  be 
born  before  your  turn.  .   .   .  Don't  let 
me  catch  you  at  it  again,  or  you  can 
wait  forever  with  my  sister  Eternity; 
and  you  know  that  it's  not  amusing 
there!  .   .   .  But  come,  are  we  ready? 
...  Is  every  one  at  his  post?  .    .    . 
(Surveying  the   Children  standing 
on  the  quay  or  already  seated  in  the 
galley.)      There  is  still  one  missing. 
.   .   .  It  is  no  use  his  hiding,  I  see  him 
in  the  crowd.  .    .   .  You  can't  deceive 
me !  .   .   .  Come  on,  you,  the  little  fel- 
low whom  they  call  the  Lover,  say 
good-bye  to  your  sweetheart.  .   .    . 

(The  two  Children  who  are 
called  the  Lovers,  fondly  en- 
twined,    their    faces     livid 
245 


The  Blue  Bird 

with  despair,  go  up  to  Time 
and  kneel  at  his  feet.) 

The  First  Child 
Mr.  Time,  let  me  stay  behind  with  her !  . . , 

The  Second  Child 
Mr.  Time,  let  me  go  with  him !  .   .   . 

Time 
Impossible !  .   .   .  We  have  only  three  hun- 
dred and  ninety-four  seconds  left.  .  .  . 
The  First  Child 
I  would  rather  not  be  born !  .   .   . 

Time 
You  cannot  choose.  .   .   . 

The  Second  Child   (beseechingly) 
Mr.  Time,  I  shall  come  too  late !  .  .   . 

The  First  Child 
I  shall  be  gone  before  she  comes  down  I  .  .  . 

The  Second  Child 
I  shall  never  see  him  again !  .   .   . 

The  First  Child 
We  shall  be  alone  in  the  world !  .   .   . 

Time 
All  this  does  not  concern  me.  .  .   .  Address 
your  entreaties  to  Life.  ...  I  unite 

(\    A  f. 


The  Blue  Bird 

and  part  as  I  am  told.  .    .    .    (Seizing 
one  of  the  Children.)     Come!  .  .  . 
The  First  Child  {struggling) 
No,  no,  no  I  .  .  .  She,  too !  .  .  . 
The    Second    Child    (clinging    to    the 

clothes  of  the  First) 
Leave  him  with  me !  .    .   .  Leave  him !  .  .  . 

Time 
Come,  come,  he  is  not  going  to  die,  but  to 
live !  .   .  .  (Dragging  away  the  First 
Child.)     Come  along!  .  .  . 
The  Second  Child  (stretching  her  arms 
out  frantically  to  the  Child  that  is 
being  carried  of) 
A  sign !  .   .   .  A  sign !  .   .   .  Tell  me  how  to 
find  you !  .   .   . 

The  First  Child 
I  shall  always  love  you !  .   .   . 

The  Second  Child 
I  shall  be  the  saddest  thing  on  earth  !  .   .   . 
You  will  know  me  by  that!    .    .    . 
(She  falls  and  remains  stretched  on 
the  ground.) 

Time 
You  would  do  much  better  to  hope.  .   -   . 

242 


The  Blue   Bird 

And  now,  that  is  all.  .  .  .  (Consult- 
ing his  hour-glass.)  We  have  only 
sixty-three  seconds  left.  .    .    . 

(Last  and  violent  movements 
among  the  Children  de- 
parting and  remaining. 
They  exchange  hurried 
farewells. ) 

The  Blue  Children 

Good-bye,  Pierre!  .  .  .  Good-bye,  Jean! 
.  .  .  Have  you  all  you  want?  .  .  . 
Announce  my  idea !  .  .  .  Have  you 
got  the  new  turnscrew?  .  .  .  Mind 
you  speak  of  my  melons !  .  .  .  Have 
you  forgotten  nothing?  .  .  .  Try  to 
know  me  again !  .  .  .  I  shall  find  you ! 
.  .  .  Don't  lose  your  ideas!  .  .  . 
Don't  lean  too  far  into  space!  .  .  . 
Send  me  your  news !  .  .  .  They  say 
one  can't  .  .  .  Oh,  try,  do  try !  .  .  . 
Try  to  tell  us  if  it's  nice !  .  .  .  I  will 
come  to  meet  you !  .  .  .  I  shall  be 
born  on  a  throne!  .    .    . 

Time  (shaking  his  keys  and  his  scythe) 

248 


The  Blue  Bird 

Enough!     Enough!    .    .    .    The  anchor's 
raised !  .   .   . 

( The  sails  of  the  galley  pass  and 
disappear.      The   voices   of 
the  Children  in  the  galley 
are  heard  in   the  distance: 
"The  Earth  !     The  Earth 
...    I  can  see  it!    .    . 
How  beautiful  it  is!   .    . 
How    bright    it    is!    .    . 
How  big  it  is!"  .   .   .  Then, 
as  though  issuing  from  the 
depths  of  the  abyss,  an  ex- 
tremely    distant     song     of 
gladness  and  expectation.) 

Tyltyl  (to  Light) 
What  is  that?  .    .    .  It  is  not  they  singing. 
...  It  sounds  like  other  voices.  .   .   . 

Light 
Yes,  it  is  the  song  of  the  mothers  coming 
out  to  meet  them.   .    .    . 

(Meanwhile,    Time    closes    the 
opalescent  doors.    He  turns 
to  take  a  last  look  at  the  hall 
249 


The  Blue  Bird 

and  suddenly  perceives  Tyl- 
tyl,  Mytyl  and  Light.) 

Time  {dumb foundered  and  furious) 
What's  that?  .  .  .  What  are  you  doing 
here  ?  .  .  .  Who  are  you  ?  .  .  .  Why 
are  you  not  blue?  .  .  .  How  did  you 
get  in?  .  .  .  {He  comes  forward, 
threatening  them  with  his  scythe.) 

Light  {to  Tyltyl) 
Do  not  answer !  .  .   .  I  have  the  Blue  Bird. 
.    .    .  He  is  hidden  under  my  cloak. 
.    .    .  Let  us  escape.   .    .    .  Turn  the 
diamond,  he  will  lose  our  traces.  .   .   . 
(  They  slip  away  on  the  left,  be- 
tween  the  columns  in   the 
foreground.) 

CURTAIN 


2  CO 


The  Blue  Bird 


ACT  VI 

Scene  i. — The  Leave-taking. 

The  stage  represents  a  wall  with  a  small 
door.     It  is  the  break  of  day. 

(Enter  Tyltyl,  Mytyl,  Light,  Bread, 
Water,  Sugar,  Fire  and  Milk) 

You  would  never  guess  where  we  are.  .   .   . 

Tyltyl 
Well,  no,  Light,  because  I  don't  know.  .  .  . 

Light 
Don't  you   recognise   that  wall   and  that 
little  door?  .   .   . 

Tyltyl 
It  is  a  red  wall  and  a  little  green  door. 

Light 
And    doesn't    that    remind  you    of    any- 
thing? .    .    . 

Tyltyl 
It  reminds  me  that  Time  shewed  us  the 
door.  .   .   . 

251 


The  Blue  Bird 

Light 
How   odd  people   are  when   they  dream. 
.   .   .  They  do  not  recognise  their  own 
hands.  .   .   . 

Tyltyl 
Who  is  dreaming?  .   .   .  Am  I?  .   .  . 

Light 
Perhaps  it's  myself.   .    .    .  Who  can  tell? 
.    .    .   However,  this  wall  contains  a 
house  which  you  have  seen  more  than 
once  since  you  were  born.  .    .    . 
Tyltyl 
A  house  which  I  have  seen  more  than  once 
since  I  was  born?    .    .    . 
Light 
Why  yes,  sleepy-head !  .   .    .  It  is  the  house 
which  we  left  one  evening,  just  a  year 
ago,  to  a  day.  .   .   . 
Tyltyl 
Just  a  year  ago?  .    .    .  Why,  then.  .    .    . 

Light 
Come,  come !  .    .    .  Don't  open  great  eyes 
like  sapphire  caves.  .   .   .  It's  the  dear 
old     house     of     your     father     and 
mother.  .    .   . 

252 


The  Blue  Bird 

Tyltyl  (going  tip  to  the  door) 
But  I  think.  .  .  .  Yes,  really.  ...  It 
seems  to  me.  .  .  .  This  little  door. 
.  .  .  I  recognise  the  wooden  pin. 
.  .  .  Are  they  in  there  ?  .  .  .  Are  we 
near  mummy?  ...  I  want  to  go  in 
at  once.  ...  I  want  to  kiss  her  at 
once !  .   .   . 

Light 
One  moment.  .   .   .  They  are  sound  asleep ; 
you  must  not  wake  them  with  a  start. 
.    .    .  Besides,  the  door  will  not  open 
till  the  hour  strikes.    .    .    . 

Tyltyl 
What  hour?  ...  Is  there  long  to  wait?. . . 

Light 
Alas,  no !  .   .   .A  few  poor  minutes.  .   .   . 

Tyltyl 

Aren't  you  glad  to  be  back?  .   .    .  What  is 
it,  Light?   .    .    .  You  are  quite  pale, 
you  look  ill.   .    .    . 
Light 

It's  nothing,  child.  ...  I  feel  a  little  sad, 
because  I  am  leaving  you.  .   .  . 

253 


The  Blue  Bird 

Tyltyl 

Leaving  us?  .   .   . 

Light 
I  must.   ...   I  have  nothing  more  to  do 
here;  the  year  is  over,  the  Fairy  is 
coming  back  to  ask  you  for  the  Blue 
Bird.   .    .    . 

Tyltyl 
But  I  haven't  got  the  Blue  Bird!  .  .  . 
The  one  of  the  Land  of  Memory 
turned  quite  black,  the  one  of  the  Fu- 
ture turned  quite  pink,  the  Night's  are 
dead  and  I  could  not  catch  the  one  in 
the  Forest.  .  .  .  Is  it  my  fault  if  they 
change  colour,  or  die,  or  escape  ?  .  .  . 
Will  the  Fairy  be  angry  and  what  will 
she  say?    .    .    . 

Light 
We  have  done  what  we  could,  ...      It 
seems  likely  that  the  Blue  Bird  does 
not  exist  or  that  he  changes  colour 
when  he  is  caged.  .   .   . 

Tyltyl 
Where  is  the  cage?  .    .    . 

2C4. 


The  Blue  Bird 

Bread 
Here,  master.  ...  It  was  entrusted  to  my 
diligent  care  during  our  long  journey; 
to-day,  now  that  my  mission  is  draw- 
ing to  an  end,    I   restore   it  to  your 
hands,  untouched  and  carefully  closed, 
as  I  received  it.  .    .   .   {Like  an  orator 
making  a  speech)      And  now,  in  the 
name  of  all.  I  crave  permission  to  add 
a  few  words.  .   .   . 
Fire 
He  has  not  been  called  upon  to  speak !  .  .  . 

Water 
Order!  .    .    . 

Bread 
The  malevolent  interruptions  of  a  contemp- 
tible enemy,  of  an  envious  rival.  .    .   . 
Fire 
An  envious  rival  1  .  .   .  What  would  you  be 
without  me?  .    .    .A  lump  of  shape- 
less and  indigestible  dough.  .    .    . 
Water 
Order!  .    .    . 

Fire 
I  won't  be  shouted  down  by  you !  .    .    . 

255 


The  Blue  Bird 

( They   threaten  each  other  and 
are  about  to  come  to  blows,) 
Light  {raising  her  wand) 
Enough!    .    .    . 

Bread 
The  insults  and  the  ridiculous  pretensions 
of  an  element  whose  notorious  misbe- 
haviour   and    whose    scandalous    ex- 
cesses drive  the  world  to  despair.  .  .  . 

Fire 
You  fat  pasty-face ! 

Bread   {raising  his  voice) 
Will  not  prevent  me  from  doing  my  duty 
to  the  end.  ...  I  wish,  therefore,  in 
the  name  of  all  .    .    . 

Fire 
Not  in  mine !  .    .    .  I  have  a  tongue  of  my 
own!  .   .   . 

Bread 
In  the  name  of  all  and  with  a  restrained 
but  simple  and  deep  emotion,  to  take 
leave  of  two  distinguished  children, 
whose  exalted  mission  ends  to-day. 
.    .    .   When  bidding  them  farewell, 

256 


The  Blue  Bird 

with  all  the  grief  and  all  the  fondness 
which  a  mutual  esteem.  .   .    . 
Tyltyl 
What?  .    .   .  You  are  bidding  us  farewell? 
.    .    .  Are  you  leaving  us  too?  .    .    . 
Bread 
Alas,    needs    must,    since    the    hour    when 
men's  eyes  are  to  be  opened  has  not  yet 
come.   ...    I  am  leaving  you,  it  is 
true;     but  the  separation  will  only  be 
apparent,  you  will  no  longer  hear  me 
speak.  .  .   . 

Fire 
That  will  be  no  loss !  .    .    . 

Water 
Order !     Silence !  .    .    . 

Fire 
I  shall  keep  silence  when  you  cease  babbling 
in  the  kettles,  the  wells,  the  brooks, 
the  waterfalls  and  the  taps.  .    .    . 
Light  (threatening  them  with  her  wand) 
That  will  do,  do  you  hear?  .    .    .  You  are 
all  very  quarrelsome;  it  is  the  coming 
separation   that  sets  your  nerves  on 
edge  like  this.  .   .   . 
257 


The  Blue  Bird 

Bread  (with  great  dignity) 

That  does  not  apply  to  me.  ...  I  was 
saying,  you  will  no  longer  hear  me 
speak,  no  longer  see  me  in  my  living 
form.  .  .  .  Your  eyes  are  about  to 
close  to  the  invisible  life  of  the 
Things;  but  I  shall  always  be  there, 
in  the  bread-pan,  on  the  shelf,  on  the 
table,  beside  the  soup,  I  who  am,  if  I 
may  say  so,  with  Water  and  Fire,  the 
most  faithful  companion,  the  oldest 
friend  of  Man.  .  .  . 
Fire 

Well,  and  what  about  me  ?  .    .    . 
Light 

Come,  the  minutes  are  passing,  the  hour  is 
at  hand  which  will  send  us  back  into 
silence.  ...  Be  quick  and  kiss  the 
children.  .   .    . 

Fire  (rushing  forward) 

[first!  I  first!  .  .  .  (Violently  kissing  the 
Children.)  Good-bye,  Tyltyl  and 
Mytyl !  .  .  .  Good-bye,  my  darlings. 
.  .  .  Think  of  me  if  ever  you  want 
any  one  to  set  fire  to  anything.  .    .    . 

£C8 


The  Blue  Bird 

Mytyl 

Oh!  Oh!  .   .   .  He's  burning  me !  .   .   ■ 

Tyltyl 
Oh!  Oh!  .  .  .  He's  scorched  my  nose !  ... 

Light 
Come,    Fire,    moderate    your    transports. 
.    .    .    Remember  you're  not  in  your 
chimney.   .    .    . 

Water 
What  an  idiot !  .    .   . 

Bread 
What  a  vulgarian !  .    .    . 

Fire 
There,  look;  I  will  put  my  hands  in  my 
pockets.    .    .    .   But  don't  forget  me. 
...  I  am  the  friend  of  Man.  .    .    . 
I  shall  always  be  there,  in  the  hearth 
and  in  the  oven ;  and  I  will  come  some- 
times and  put  out  my  tongue  for  you 
when  you  are  cold  or  sad.    ...    I 
shall   be   warm   in   winter   and  roast 
chestnuts  for  you.  .    .    . 
Water     {approaching    the    Children) 
I  shall  kiss  you  without  hurting  you,  ten- 
derly, my  children.  .    .    . 

259. 


The  Blue  Bird 

Fire 
Take  care,  you'll  get  wet !  .   .  . 

Water 
I  am  loving  and  gentle ;  I  am  kind  to  human 
beings.  .    .    . 

Fire 
What  about  those  you  drown?  .   .    . 

Water 
Love  the  wells,  listen  to  the  brooks.   .    .    ». 
I  shall  always  be  there.   .    .    . 
Fire 
She  has  flooded  the  whole  place.  .   .    . 

Water 
When  you  sit  down,  in  the  evening,  beside 
the  springs — there  is  more  than  one 
here  in  the  forest — try  to  understand 
what  they  are  trying  to  say.   .    .    . 
Fire 
Enough !  Enough !  .  .  .  I  can't  swim !  .  .  . 

Water 
I  shall  no  longer  be  able  to  tell  you  as 
clearly  as  I  do  to-day  that  I  love  you ; 
but  you  will  not  forget  that  that  is 
what  I  am  saying  to  you  when  you 
hear  my  voice.  .  .  .  Alas !  .  .  .  I  can 
260 


The   Blue  Bird 

say  no  more.  .   .   .  My  tears  choke  me 
and  prevent  my  speaking.  .   .    . 

Fire 
It  doesn't  sound  like  it!    .    .    . 

Water 
Think  of  me  when  you  see  the  water-bottle. 
.  .  .  Alas!  I  have  to  be  silent  there; 
but  my  thoughts  will  always  be  of 
you.  .  .  .  You  will  find  me  also  in 
the  ewer,  the  watering-can,  the  cistern 
and  the  tap.   .    .    . 

Milk   {approaching  timidly) 
And  me  in  the  milk-jug.  .    .    . 

Tyltyl 
What,  you  too,  my  dear  Milk,  so  shy  and 
so     good?     ...      Is     everybody 
going?   .    .    . 

Sugar  {naturally  mawkish  and  sancti- 
monious) 

If  you  have  a  little  corner  left  in  your 
memory,  remember  sometimes  that 
my  presence  was  sweet  to  you.  .  .  . 
That  is  all  I  have  to  say.  .  .  .  Tears 
are  not  in  harmony  with  my  tempera- 
261 


The  Blue  Bird 

ment  and  they  hurt  me  terribly  when 
they  fall  on  my  feet.  .    .    . 

Bread 

Jesuit!  .    .   . 

Fire  (yelping) 
Sugar-plum !     Lollipop  !  Caramel !  .   .   . 

Tyltyl 

But  where  are  Tylette  and  Tylo  gone  to? 

.   .   .  What  are  they  doing?  .   .   . 

(The    Cat    is    heard    to    utter 
shrill  cries.) 
Mytyl  (alarmed) 
It's  Tylette  crying!    .     .     .    He   is  being 
hurt!  .   .   . 

(Enter  the  Cat,  running,  his  hair  on  end 
and  dishevelled,  his  clothes  torn,  hold- 
ing his  handkerchief  to  his  cheek,  as 
though  he  had  the  toothache.  He 
utters  angry  groans  and  is  closely 
pursued  by  the  Dog,  who  overwhelms 
him  with  bites,  blows  and  kicks.) 

The  Dog  (beating  the  Cat) 
There!  .   .   .  Have  you  had  enough?  .  .  . 

262 


The  Blue  Bird 

Do  you  want  any  more?  .   .   .  There! 
There !     There !    .    .    . 
Light,  Tyltyl  and  Mytyl  {rushing  for- 
ward to  part  them) 
Tylo !  .    .    .  Are  you  mad  ?  .    .    .  Well,  I 
never !  . x.    .  Down !  .    .    .  Stop  that, 
will  you?  .    .   .  How  dare  you?  .    .   . 
Wait,  wait!   .    .    . 

( They    part   the    Dog   and    the 
Cat  by  main  force.) 
Light 
What  is  it?  .   .   .  What  has  happened?  .  .  . 
The  Cat  {blubbering  and  wiping  his 
eyes) 
It's  the  Dog,   Mrs.  Light.    ...    He  in- 
sulted me,  he  put  tin  tacks  in  my  food, 
he  pulled  my  tail,  he  beat  me;  and  I 
had  done  nothing,  nothing,  nothing  at 
all!  .   .   . 
The  Dog  {mimicking  him) 
Nothing,   nothing,   nothing  at  all !    .    .    . 
{In    an    undertone,    with   a    mocking 
grimace)      Never   mind,   you've   had 
some,  you've  had  some  and  you're  go- 
ing to  have  some  more  !  .   .   . 
263 


The  Blue  Bird 

Mytyl    (pressing  the  Cat  in  her  arms) 

My  poor  Tylette,  where  has  he  hurt  you? 
.    .    .    Tell    me.    ...    I    shall    cry 
too.    .    .    . 
Light  (to  the  Dog,  severely) 

Your  conduct  is  all  the  more  unworthy 
since  you  have  chosen  for  this  dis- 
graceful exhibition  the  already  most 
painful  moment  when  we  are  about  to 
part  from  these  poor  children.  .  .  . 
The  Dog  (suddenly  sobered) 

To  part  from  these  poor  children?   .    .    . 
Light 

Yes ;  the  hour  which  you  know  of  is  at  hand. 
.  .  .  We  are  going  to  return  to  si- 
lence. .  .  .  We  shall  no  longer  be 
able  to  speak  to  them.  .   .   . 

The  Dog  (suddenly  uttering  real  howls  of 
despair  and  flinging  himself  upon  the 
Children,  whom  he  loads  with  vio- 
lent and  tumultuous  caresses). 

No !  No !   .    .    .  I  refuse !   .    .    .   I  refuse ! 

...   I  shall  always  talk!  .    .    .  You 

will  understand  me  now,  will  you  not, 

my  little  god  ?  .    .    .  Yes !  Yes !  Yes  I 

264 


The   Blue   Bird 

.  .  .  And  we  shall  tell  each  other 
everything,  everything,  everything ! 
.  .  .  And  I  shall  be  very  good.  .  .  . 
And  I  shall  learn  to  read  and  write 
and  play  dominoes !  .  .  .  And  I  shall 
always  be  very  clean.  .  .  .  And  I 
shall  never  steal  anything  in  the 
kitchen  again.  .  .  .  Shall  I  do  a  won- 
derful trick  for  you  ?  .  .  .  Would  you 
like  me  to  kiss  the  Cat?  .  .  . 
Mytyl  (to  the  Cat) 
And  you,  Tylette  ?  .   .   .  Have  you  nothing 

to  say  to  us?  .    .    . 
The   Cat    (in  an  affected  and  enigmatic 

tone) 
I  love  you  both  as  much  as  you  deserve.  .  .  . 

Light 
Now  let  me,  in  my  turn,  children,  give  you 
a  last  kiss.   .    .    . 
Tyltyl  and  Mytyl  (hanging  on  to 
Light's  dress) 
No,  no,  no,  Light!    .    .    .   Stay  here  with 
us!   .    .    .    Daddy  won't  mind.    .    .    . 
We  will  tell  mummy  how  kind  you 
have  been.  .    .    . 
265 


The  Blue  Bird 

Light 
Alas !  I  cannot !  .   .   .  This  door  is  closed  to 
us  and  I  must  leave  you.  .   .   . 
Tyltyl 
Where  will  you  go  all  alone?  .   .   . 

Light 
Not  very  far,  my  children;  over  there,  to 
the      Land      of      the      Silence      of 
Things.  .    .    . 

Tyltyl 
No,  no;  I  won't  have  you  go.   .    .    .   We 
will  go  with  you.    ...    I  shall  tell 
mummy.    .    .    . 

Light 
Do  not  cry,  my  dear  little  ones.  ...  I 
have  not  a  voice  like  Water;  I  have 
only  my  brightness,  which  Man  does 
not  understand.  .  .  .  But  I  watch 
over  him  to  the  end  of  his  days.  .  .  . 
Never  forget  that  I  am  speaking 
to  you  in  every  spreading  moonbeam, 
in  every  twinkling  star,  in  every 
dawn  that  rises,  in  every  lamp  that  is 
lit,  in  every  good  and  bright  thought 
^f  your  soul.  .  .  .  (Eight  o'clock 
266 


The   Blue   Bird 

strikes  behind  the  wall.)  Listen!  .  .  , 
The  hour  is  striking!  .  .  .  Good-bye! 
.  .  .  The  door  is  opening!  ...  In 
with  you,  in  with  you !  .    .    . 

(She  pushes  the  Children 
through  the  door,  which 
has  half-opened  and  which 
closes  again  behind  them. 
Bread  wipes  away  a  fur- 
tive tear.  Sugar  and  Wa- 
ter, etc.,  all  in  tears,  flee 
precipitously  an  2  disappear 
in  the  wings  to  the  right  and 
left.  The  Dog  howls  be- 
hind the  scenes.  The  stage 
remains  empty  for  a  mo- 
ment and  then  the  scenery 
representing  the  wall  and 
the  little  door  opens  in  the 
middle  and  reveals  the  last 
scene.) 

Scene  2. — The  Awakening. 

The  same  setting  as  in  Act  I,  but  the  ob- 
jects, the  walls  and  the  atmosphere  all 
267 


The  Blue  Bird 

appear  incomparably  and  magically 
fresher,  happier,  more  smiling.  The 
daylight  penetrates  gaily  through  the 
chinks  of  the  closed  shutters.  To  the 
right,  at  the  back,  Tyltyl  and 
Mytyl  lie  sound  asleep  in  their  little 
beds.  The  Dog,  the  Cat  and  the 
Things  are  in  the  places  which  they 
occupied  in  Act  I,  before  the  arrival 
of  the  Fairy. 

Enter  Mummy  Tyl 

Mummy   Tyl    (in   a   cheerfully   scolding 
voice) 

Up,  come,  get  up,  you  little  lazybones !  .  .  . 
Aren't  you  ashamed  of  yourselves?  .  . . 
It  has  struck  eight  and  the  sun  is  high 
above  the  trees !  .  .  .  Lord,  how  they 
sleep,  how  they  sleep  !  .  .  .  (She  leans 
over  and  kisses  the  Children.)  They 
are  quite  rosy.  .  .  .  Tyltyl  smells  of 
lavender  and  Mytyl  of  lilies-of-the- 
valley.  .  .  .  (Kissing  them  again) 
268 


The  Blue  Bird 

What  sweet  things  children  are!  .  .  .«, 
Still,  they  can't  go  on  sleeping  till  mid- 
day. ...  I  mustn't  let  them  grow 
up  idle.  .  .  .  And,  besides,  I  have 
heard  that  it's  not  very  healthy.  .  .  . 
(Gently  shaking  Tyltyl)  Wake  up, 
wake  up,  Tyltyl.   .    .  . 

Tyltyl  (waking  up) 

What?  .   .    .  Light?    .    .    .  Where  is  she? 
.    .    .  No,  no,  don't  go  away.  .    .    . 
Mummy  Tyl 

Light?  .  .  .  Why,  of  course  it's  light 
.  .  .  Has  been  for  ever  so  long.  .  .  . 
It's  as  bright  as  noonday,  though  the 
shutters  are  closed.  .  .  .  Wait  a  bit 
till  I  open  them.  .  .  .  (She  pushes 
back  the  shutters  and  the  dazzling 
daylight  invades  the  room.)  There.' 
See !  .  .  .  What's  the  matter  with 
you?  .  .  .  You  look  quite  blinded.  .  .  . 
Tyltyl   (rubbing  his  eyes) 

Mummy,  mummy !  .    .   .  It's  you !  .   .    . 
Mummy  Tyl 

Why,  of  course,  it's  I.   .    .    .  Who  did  you 
think  it  was?  .  .  . 

26Q 


The  Blue  Bird 

Tyltyl 
it's  you.  .   .   .  Yes,  yes,  it's  you !  .  ,.  », 

Mummy  Tyl 
ifes,  yes,  it's  I.  .    .   .  I  haven't  changed  my 
face  since  last  night.  .   .  .  Why  do  you 
stare  at  me  in  that  wonderstruck  way? 
...  Is  my  nose  turned  upside  down, 
by  any  chance?  .    .    . 
Tyltyl 
Oh;  how  nice  it  is  to  see  you  again!   .    .    . 
It's  so  long,  so  long  ago !  .   .   .  I  must 
kiss  you  at  once.  .   .   .  Again !   Again ! 
Again !    .    .    .   And  how  comfortable 
my   bed   is!     ...    I    am    back    at 
home !   .    .    . 

Mummy  Tyl 
What's  the  matter?  .  .  .  Why  don't  you 
wake  up?  .  .  .  Don't  tell  me  you're 
ill.  .  .  .  Let  me  see,  show  me  your 
tongue.  .  .  .  Come,  get  up  and 
dress.   .    .    . 

Tyltyl 
Hullo,  I've  got  my  shirt  on !  .   .   . 

Mummy  Tyl 
Of  course  you  have.    .    .    .    Put  on  your 

270 


The  Blue  Bird 

breeches  and  your  little  jacket.   .    .    . 
There  they  are,  on  the  chair.  .   .   . 
Tyltyl 
Is  that  what  I  did  on  the  journey?  .   .   . 

Mummy  Tyl 
What  journey?  .    .    . 

Tyltyl 
Why,  last  year.  .    .    . 

Mummy  Tyl 
Last  year?  .    .   . 

Tyltyl 
Why,  yes !  ...  At  Christmas,  when  I  went 
away.  .    .    . 

Mummy  Tyl 
When  you  went  away?  .  .  .  You  haven't 
left  the  room.  ...  I  put  you  to  bed 
last  night,  and  here  you  are  this  morn- 
ing. .  .  .  Have  you  dreamed  all 
that?  .    .   . 

Tyltyl 
But  you  don't  understand  !  ...  It  was  last 
year,  when  I  went  away  with  Mytyl, 
the  Fairy,  Light — how  nice  Light  is ! 
— Bread,  Sugar,  Water,  Fire:  they 
did  nothing  but  quarrel !  .    .    .  You're 

271 


The  Blue   Bird 

not  angry  with  me?  .  .  .  Did  you  feel 
very  sad?  .  .  .  And  what  did  daddy 
say?  ...  I  could  not  refuse  ...  I 
left  a  note  to  explain.  .   .   . 

Mummy  Tyl 
What  are  you  talking  about?  .  .  .  For 
sure,  either  you're  ill  or  else  you're 
still  asleep.  .  .  .  (She  gives  him  a 
friendly  shake.)  There,  wake  up. 
.   .   .  There,  is  that  better?  .   .   . 

Tyltyl 
But,  mummy,  I  assure  you.   .    .    .  It's  you 
that's  still  asleep.  .    .    . 

Mummy  Tyl 
What!     Still  asleep,  am  I?   .    .    .    Why, 
I've  been  up  since  six  o'clock.    .    .    . 
I've  finished  all  the  cleaning  and  lit 
the  fire.  .    .    . 

Tyltyl 

But  ask  Mytyl  if  it's  not  true.  .   .  .  Oh,  we 

have  had  such  adventures !  .   .   . 

Mummy  Tyl 
Why    Mytyl?     .      .      .     What    do    you 
mean?  .    .    . 

272 


The  Blue   Bird 

Tyltyl 
She  was  with  me.   .    .    .  We  saw  grandad 
and  granny.   .    .    . 

Mummy  Tyl  {more  and  more  bewil- 
dered) 
Grandad  and  granny?   .    .    . 

Tyltyl 
Yes,  in  the  Land  of  Memory.  ...  It  was 
on  our  way.  .  .  .  They  are  dead,  but 
they  are  quite  well.  .  .  .  Granny 
made  us  a  lovely  plum-tart.  .  .  .  And 
then  the  little  brothers — Robert,  Jean 
and  his  top — and  Madeleine  and  Pier- 
rette and  Pauline  and  Riquette, 
too.  .    .   . 

Mytyl 
Riquette  still  goes  about  on  all  fours !  .   .   . 

Tyltyl 
And   Pauline    still   has    a    pimple   on    her 
nose.  .   .   . 

Mummy  Tyl 
Have  you  found  the  key  of  the  cupboard 
where      daddy      hides      his     brandy 
bottle?  .   .   . 

*71 


The  Blue  Bird 

Tyltyl 
Does  daddy  hide  a  brandy  bottle?   .    .    . 

Mummy  Tyl 

Certainly.  One  has  to  hide  everything  when 
one  has  little  meddlesome  good-for- 
nothings  like  you.  .  .  .  But  come,  out 
with  it,  confess  that  you  took  it.  .  .  . 
I  would  rather  it  was  that.  ...  I 
sha'n't  tell  daddy.  ...  I  sha'n't  beat 
you.  .  .  . 

Tyltyl 

But,  mummy,  I  don't  know  where  it  is.  .  .   . 
Mummy  Tyl 

Just  walk  in  front  of  me,  so  that  I  may  see 
if  you  can  walk  straight.  .  . 
(Tyltyl  does  so)  No,  it's  not  that. 
.  .  .  Dear  heaven,  what  is  the  matter 
with  them?  ...  I  shall  lose  them 
too,  as  I  lost  the  others!  .  .  .  {Sud- 
denly mad  with  alarm,  she  calls  out) 
Daddy  Tyl !  .  .  .  Come,  quick !  The 
children  are  ill!   .    .    . 

[Enter  Daddy  Tyl,  very  calmly,  with  an 

axe  in  his  hand.) 

274 


The  Blue  Bird 

Daddy  Tyl 

What  is  it?  .   .   . 

Tyltyl  and  Mytyl  {running  up  gaily  to 
kiss  their  father) 

Hullo,  daddy!  .  .  .  It's  daddy!  .  .  . 
Good-morning,  daddy !  .  .  .  Have 
you  had  plenty  of  work  this  year?  .  .  . 

Daddy  Tyl 

Well,  what's  the  matter?  .   .   .  They  don't 
look  ill;  they  look  very  well.  .    .    . 
Mummy  Tyl  {weeping) 

You  can't  trust  their  looks.  ...  It  will  be 
as  with  the  others.  .  .  .  They  looked 
quite  well  also  to  the  end;  and  then 
God  took  them.  ...  I  don't  know 
what's  the  matter  with  them.  ...  I 
put  them  to  bed  quite  quietly  last 
night;  and  this  morning,  when  they 
woke  up,  everything  was  wrong.  .  .  . 
They  don't  know  what  they're  saying; 
they  talk  about  a  journey.  .  .  .  They 
have  seen  Light  and  grandad  and 
granny,  who  are  dead,  but  who  are 
quite  well.   .    .    . 

275 


The  Blue  Bird 

Tyltyl 

But  grandad  still  has  his  wooden  leg.  .    .   . 

Mytyl 
And  granny  her  rheumatics.  .    .    . 

Mummy  Tyl 
Do  you  hear?    .    .    .    Run  and  fetch  the 
doctor!  .    .    . 

Daddy  Tyl 
Why,  no,  no.  .    .    .  They  are  not  dead  yet. 
.    .    .  Come,  let  us  look  into  this.  .  .  . 
{A  knock  at  the  front  door.)     Come 
in!  .  .  . 

{Enter  Neighbour  Berlingot,  a  little 
old  woman  resembling  the  Fairy  in 
Act  I  and  leaning  on  a  stick.) 

The  Neighbour 
Good-morning  and  a  Merry  Christmas  to 
you  all!  .    .    . 

Tyltyl 

It's  the  Fairy  Berylune !  .    .    . 

The  Neighbour 

I  have  come  to  ask  for  a  bit  of  fire  for  my 

Christmas  stew.  .    .   .  It's  very  chilly 

276 


The  Blue   Bird 

this  morning.    .    .    .    Good-morning, 
children,  how  are  you  ?  .   .   . 
Tyltyl 
Fairy  Berylune,  I  could  not  find  the  Blue 
Bird.  .  .  . 

The  Neighbour 
What  is  he  saying?  .    .   . 

Mummy  Tyl 
Don't  ask  me,  Madame  Berlingot.   .    .    . 
They  don't  know  what  they  are  saying. 
.    .    .  They  have  been  like  that  since 
they  woke  up.   .    .    .  They  must  have 
eaten  something  that  wasn't  good.  .  .  . 
The  Neighbour 
Why,  Tyltyl,  don't  you  remember  Goody 
Berlingot,      your      Neighbour      Ber- 
lingot? .    .    . 

Tyltyl 
Why,  yes,  ma'am.  .    .    .  You  are  the  Fairy 
Berylune.  .   .   .  You're  not  angry  with 
us?  .    .    . 

The  Neighbour 
Bery    .     .     .    what?      Goodness    gracious 
me!  .    .   . 

277 


The  Blue  Bird 

Tyltyl 
Berylune. 

The  Neighbour 
Berlingot,  you  mean  Berlingot.  .    .    . 

Tyltyl 

Berylune    or    Berlingot,     as    you    please, 

ma'am.  .   .   .  But  Mytyl  knows.  -   .  - 

Mummy  Tyl 

That's  the  worst  of  it,  that  Mytyl  also.  .  .  . 

Daddy  Tyl 
Pooh,  pooh!  .   .   .That  will  soon  go;  I  will 
give  them  a  smack  or  two.  .   .   . 
The  Neighbour 
Don't;  it's  not  worth  while.   ...  I  know 
all   about  it;   it's  only  a   little  fit  of 
dreaming.  .   .    .  They  must  have  slept 
in  the  moonbeams.  .  .   .  My  little  girl, 
who  is  very  ill,  is  often  like  that.  .   .   . 
Mummy  Tyl 
By  the  way,  how  is  your  little  girl?  .    .    . 

The  Neighbour 

Only  so-so.   .    .    .  She  can't  get  up.   .    .    , 

The  doctor  says  that  it's  her  nerves, 

...    I  know  what  would  cure  hert 

for  all  that.    She  was  asking  me  for  it 

278 


The   Blue  Bird 

only  this  morning,  for  her  Christmas 
box;  it's  a  notion  she  has  .    .    . 
Mummy  Tyl 

Yes,  I  know;  it's  Tyltyl's  bird.  .   .   .  Well, 
Tyltyl,  aren't  you  going  to  give  it  at 
last  to  that  poor  little  thing?  .    .    . 
Tyltyl 

What,  mummy?  .    .    . 

Mummy  Tyl 

Your  bird.  .    .    .  It's  no  use  to  you.  .    .    . 
You  don't  even  look  at  it  now.  .    .    . 
And  she  has  been  dying  to  have  it  for 
ever  so  long !   .    .    . 
Tyltyl 

Hullo,  that's  true,  my  bird !  .  .  .  Where 
is  he?  .  .  .  Oh,  there's  the  cage !  .  .  . 
Mytyl,  do  you  see  the  cage?  .  .  . 
It's  the  one  which  Bread  carried.  .  .  . 
Yes,  yes,  it's  the  same  one,  but  there's 
only  one  bird  in  it.  .  .  .  Has  he  eaten 
the  other,  I  wonder?  .  .  .  Hullo, 
why,  he's  blue!  .  .  .  But  it's  my 
turtle-dove !  .  .  .  But  he's  much 
bluer  than  when  I  went  away!  .  .  . 
Why,  that's  the  blue  bird  we  were  look- 

27Q 


The  Blue  Bird 

ing  for !  .  .  .  We  went  so  far  and  he 
was  here  all  the  time !  .  .  .  Oh,  but 
it's  wonderful !  .  .  .  Mytyl,  do  you 
see  the  bird?  What  would  Light  say? 
...  I  will  take  down  the  cage.  .  .  . 
{He  climbs  on  a  chair  and  takes  down 
the  cage  and  carries  it  to  the  Neigh- 
bour.) There,  Madame  Berlingot, 
there  you  are.  .  .  .  He's  not  quite 
blue  yet,  but  that  will  come,  you  shall 
see !  .  .  .  Take  him  off  quick  to  your 
little  girl.   .    .    . 

The  Neighbour 

Really?  .  .  .  Do  you  mean  it?  .  .  .  Do 
you  give  it  me  like  that,  straight  away 
and  for  nothing?  .  .  .  Lord,  how 
happy  she  will  be!  .  .  .  {Kissing 
Tyltyl)  I  must  give  you  a  kiss !  .  .  . 
I  fly!  .  .  .  I  fly!  .  .  . 
Tyltyl 

Yes,  yes;  be  quick.    .    .    .   Some  of  them 
change  their  colour.  .    .    . 
The  Neighbour 

I   will   come   back  to   tell  you   what   she 
says.  .    .   . 

280 


The  Blue  Bird 

(She  goes  out.) 
Tyltyl  (after  taking  a  long  look  around 

him) 
Daddy,  mummy,  what  have  you  done  to 
the  house?.   .  .  It's  just  as  it  was,  but 
it's  much  prettier.   .    .    . 

Daddy  Tyl 
How  do  you  mean,  it's  prettier?  .    .    . 

Tyltyl 
Why,  yes,  everything  has  been  painted  and 
made  to  look  new,  everything  is  clean 
and  polished.    ...    It  was  not  like 
that  last  year.  .    .    . 

Daddy  Tyl 
Last  year?  .   .   . 

Tyltyl  (going  to  the  window) 
And  look  at  the  forest !  .  .  .  How  big  and 
fine  it  is !  .  .  .  One  would  think  it  was 
new!  .  .  .  How  happy  I  feel  heref 
.  .  .  (Going  to  the  bread-pan  and 
opening  it)  Where's  Bread?  .  .  . 
I  say,  the  loaves  are  very  quiet.  .  .  . 
And  then  here's  Tylo !  .  .  .  Hullo, 
Tylo,  Tylo!    .    .    .   Ah,  you  had  a 


The  Blue  Bird 

fine  fight !  .    .   .  Do  you  remember,  in 
the  forest?   .    .    . 

Mytyl 
And  Tylette.  .    .    .  He  knows  me,  but  he 
has  stopped  talking.  .    .   . 
Tyltyl 
Mr.  Bread.   .    .    .    (Feeling  his  forehead) 
Hullo,    the    diamond's    gone !    .    .    . 
Who's  taken  my  little  green  hat?  .   .   . 
Never   mind;    I    don't    want    it    any 
more.   .    .    .  Ah,  Fire !   .    .    .   He's  a 
good  one!    .     .     .    He   crackles   and 
laughs  to  make  Water  angry.   .    .    . 
(Running  to  the  tap)     And  Water? 
.    .    .   Good-morning,  Water!    .    .    . 
What  does  she  say?   .    .    .    She  still 
talks,  but  I  don't  understand  her  as 
well  as  I  did.  .   .   . 
Mytyl 
I  don't  see  Sugar.  .  .  . 

Tyltyl 
Lord,   how   happy   I   am,    happy,   happy, 
happy!   .    .    . 

Mytyl 
So  am  I,  so  am  I !  .   .   . 

282 


The  Blue  Bird 

Mummy  Tyl 
What    are   you    spinning    round    for   like 
that?   .... 

Daddy  Tyl 
Don't  mind  them  and  don't  distress  your- 
self. .    .    .  They  are  playing  at  being 
happy.  .    .    . 

Tyltyl 
I  liked  Light  best  of  all.  .  .  .  Where's  her 
lamp?  .  .  .  Can  we  light  it?  .  .  . 
(Looking  round  him  again.)  Good- 
ness me,  how  lovely  it  all  is  and  how 
glad  I  feel!  .    .    . 

Mummy  Tyl 
Why?  .   .   . 

Tyltyl 
I  don't  know,  mummy.   .    .    . 

(A  knock  at  the  front-door.) 
Daddy  Tyl 
Come  in,  come  in !  .    .    . 

(Enter  the  Neighbour,  holding  by  the 
hand  a  little  girl  of  a  fair  and  wonder- 
ful beauty,  who  carries  Tyltyl's 
dove  pressed  in  her  arms. ) 

283 


The  Blue   Bird 

The  Neighbour 
Do  you  see  the  miracle?  .    .    . 

Mummy  Tyl 
Impossible!  .    .   .  Can  she  walk?  .   .   . 

The  Neighbour 
Can  she  walk?  .  .  .  She  can  run,  she  can 
dance,  she  can  fly !  .  .  .  When  she 
saw  the  bird,  she  jumped,  just  like 
that,  with  one  bound,  to  the  window, 
to  see  by  the  light  if  it  was  really 
Tyltyl's  dove.  .  .  .  And  then, 
whoosh!  .  .  .  Out  into  the  street, 
like  an  angel !  ...  It  was  as  much  as 
I  could  do  to  keep  pace  with  her.  .  .  . 

Tyltyl  (going  up  to  her,  wonderstruck) 
Oh,  how  like  Light  she  is!  .   .   . 

Mytyl 

She  is  much  smaller.  .    .    . 

Tyltyl 
Yes,    indeed!    .    .    .    But    she    will    grow 
bigger.  .   .   . 

The  Neighbour 
What  are  they  saying?  .   .    .  Haven't  they 
got  over  it  yet  ?  .   .   . 
284 


The   Blue  Bird 

Mummy  Tyl 
They  are  better,  they  are  mending.  ...  It 
will  be  all  right  when  they  have  had 
their  breakfasts.  .    .    . 
The  Neighbour    (pushing  the  Little 

Girl  into  Tyltyl' s  arms). 
Come  along,  child,  come  and  thank  Tyl- 

tyl 

(TYLTYL,    suddenly   frightened, 
takes  a  step  back.) 
Mummy  Tyl 
Well,  Tyltyl,  what's  the  matter?    .    .    . 
Are  you  afraid  of  the  little  girl?  .   .   . 
Come,   give  her  a  kiss,   a  good  big 
kiss.  .   .   .  No,  a  better  one  than  that. 
.  .  .  You're  not  so  shy  as  a  rule  1  .   .  . 
Another  one!    .    .    .    But  what's  the 
matter  with  you?  .   .   .  You  look  as  if 
you  were  going  to  cry.  .    .    . 

(Tyltyl,  after  kissing  the 
Little  Girl  rather  awk- 
wardly, stands  before  her 
for  a  moment  and  the  two 
children  look  at  each  other 
without  speaking;  then 
285 


The  Blue  Bird 

Tyltyl  strokes  the  dove's 
head.) 
Tyltyl 
Is  he  blue  enough?  .   .    . 

The  Little  Girl 
I'es,  I  am  so  pleased  with  him.  .   .   . 

Tyltyl 
I  have  seen  bluer  ones.    .    .    .    But  those 
which  are  quite  blue,  you  know,  do 
what     you     will,     you     can't     catch 
them.  .    .   . 

The  Little  Girl 
That  doesn't  matter;  he's  lovely.  .    .    . 

Tyltyl 
Has  he  had  anything  to  eat?  .    .    . 

The  Little  Girl 
Not  yet.  .  .   .  What  does  he  eat?  .   .  . 

Tyltyl 
Anything:  corn,  bread,  Indian  corn,  grass- 
hoppers. .    .    . 

The  Little  Girl 
How  does  he  eat,  say?  .    .    . 

Tyltyl 
With  his  beak.     You'll  see,   I  will  show 
you.    .    .    . 

286 


The  Blue   Bird 

{He  moves  in  order  to  take  the 
bird     from     the     Little 
Girl's  hands.     She  resists 
instinctively  ;  and,  taking  ad- 
vantage of  the  hesitation  of 
their  movements,  the  Dove 
escapes  and  flies  away.) 
The  Little  Girl  {with  a  cry  of  despair) 
Mother!   ...   He  is  gone!   .    .    .    {She 
bursts  into  sobs.) 

Tyltyl 
Never  mind.  .  .  .  Don't  cry.  ...  I  will 
catch  him  again.  .  .  .  {Stepping  to 
the  front  of  the  stage  and  addressing 
the  audience.)  If  any  of  you  should 
find  him,  would  you  be  so  very  kind 
as  to  give  him  back  to  us?  .  .  .  We 
need  him  for  our  happiness,  later 
on.  .   .   . 

CURTAIN 


28,7 


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